er"
>> }
>> }
>> ```
>
>
> You can do \set Score.midiChannelMapping = #'voice as an alternative to that.
We really need a plain simple way to set a fixed channel. There is
enough hardware around using dedicated channels.
--
David Kastrup
to Italian note names temporarily… Just kidding: the
sane solution of using quote marks has been already covered in two
replies.
--
David Kastrup
gt; the shorter name than the longer one but I don’t want to rely on
> something that might break unexpectedly.
The glossary does not document LilyPond but common language. It wrote
about "c-sharp" long before the English input language allowed the
spelling "c-sharp" (I t
steps on the circle of fifths (the
difference implying that the circle isn't actually a closed circle), you
need to write something like \transpose des' a instead.
--
David Kastrup
that
is exactly because it makes it easy to make properly connected adjacent
slurs.
You should not ignore syntax warnings LilyPond gives you: they indicate
a problem with your source file.
--
David Kastrup
Simon Albrecht writes:
> On 01.03.24 14:29, David Kastrup wrote:
>> Simon Albrecht writes:
>>
>>> The downside of that is that I cannot add more tags to those groups on
>>> the fly, and always have to add them directly to the library file.)
>>
Simon Albrecht writes:
> The downside of that is that I cannot add more tags to those groups on
> the fly, and always have to add them directly to the library file.)
Suggestions for a user interface to do that?
--
David Kastrup
hatContainsAltoNotes
> \addlyrics \text
>>>
I'd rather use
\tagGroup alto,non-alto
\lyricmode {
\tag alto { on -- ly al -- to }
\tag non-alto { ev’ -- ry -- one ex -- cept al -- to }
}
\keepWithTag alto ...
\keepWithTag non-alto ...
But one would need to look at the rest to see whether this kind of tag
group would end up problematic.
--
David Kastrup
eparated) and your problem
here is that # goes into Scheme.
So you call upon one Scheme variable endtone} which does not exist. Put
a space before the closing brace.
--
David Kastrup
this impeccable timing, I'd not have mentioned it.
Talk about waxing nostalgic!
--
David Kastrup
eady taken by the alto).
\voiceTwo is for the outermost low voice, so the alto may be better off
\voiceFour ?
--
David Kastrup
e, not
simple to use.
But nobody has bothered defining particular use cases and giving them a
simple user interface.
--
David Kastrup
framework requiring an expert to cater
for the particular common use case.
There is something to be said for a more generic name/feature such as
SubStaff in terms of the context hierarchy, moving the necessary fixed
mods into a context mod.
--
David Kastrup
2.~ \break 2.~2.
\oneVoice
\extraClefEnd
c''2.
}
>>
}
}
}
If made built-in, it would affect several files and introduce a new
default context type.
I don't think it covers multiple simultanous main clefs (like sometimes
seen in compact mensural notation). I
ks
when writing
myTempoBase = ##{ 4 #}
myTempo = 80
global = {
\key c \major
\time 4/4
\tempo \myTempoBase = \myTempo
}
because ##{ 4 #} resolves to a duration rather than a number.
--
David Kastrup
single voice in a single piece as it uses a global
counter.
--
David Kastrup
\new Staff
<<
\incipit \new Staff \Incipit
\set Staff.instrumentName = "Violino discordato"
\noten
>>
\layout {
indent = 4\cm
incipit-width = 1\cm
}
}
--
David Kastrup
text ...
that it will not do a \new MensuralStaff but just take what is given,
add its specific context creation mods to any that might already be
there, and work with that.
--
David Kastrup
_ other instrument/patch
schemes beyond GM1 would be more of a priority over going MIDI 2.0.
--
David Kastrup
Adrian writes:
> Thanks for the reply, and apologies for not replying to all. However,
>
> \override Lyrics.LyricsText.font-name = "Font Name"
>
> returns the following warning:
>
> warning: not a grob name, `LyricsText'
>
> and doesn't alter the font.
ation-log duration) note
{ <\apparent e,4 b, f e'>2 }
Of course it doesn't work to change the dotcount when the chord as such
has no dots scheduled. I am also not convinced that this interface is
the best approach.
--
David Kastrup
Knute Snortum writes:
> On Mon, Jan 15, 2024 at 5:28 AM David Kastrup wrote:
>
>> Bernhard Kleine writes:
>>
>> > Dear David,
>> >
>> > the file was created this morning from frescobaldi with the
>> > Partitur-Assistent and the pre-set
Bernhard Kleine writes:
> Am 15.01.2024 um 14:28 schrieb David Kastrup:
>> Bernhard Kleine writes:
>>
>>> Dear David,
>>>
>>> the file was created this morning from frescobaldi with the
>>> Partitur-Assistent and the pre-set version of Lilypo
; creates those overrides, it needs to get fixed.
--
David Kastrup
s to this lilypond
> version. What do I have change to make the score compile without this
> warning?
>
> Kind regards
>
> Bernhard
>
> \version "2.25.7"
Do _NOT_ update the version header by hand. That is the job of
convert-ly when it also updates the syntax of your file to a newer
version.
--
David Kastrup
way in which LilyPond is getting improved.
--
David Kastrup
and allow the rest of your argument. However <> still seems
> unintuitive.
Well, there's been discussion about using z but then what would z with a
duration mean, and z is not just unintuitive in that you would not think
of writing it without knowing it but also unintuitive because you have
no way to know what it is when reading it.
<> at least is comprised of known elemeents.
--
David Kastrup
t; s1*0 works and is more or less equivalent to <> .
The counterexample is
\new Voice { c'4\< g' c'2 s1*0\! }
\addlyrics { What is this? }
This works when using <> instead.
--
David Kastrup
end up something that isn't a valid chord but it
is only used for passing through \relative and then thrown away.
--
David Kastrup
ith "help"
in the body and it will tell you what it can do for you.
--
David Kastrup
David Kastrup writes:
> David Kastrup writes:
>
>> Matthew Fong writes:
>>
>>> I tried the following inside the function, and all generate errors. I would
>>> like to use the value of rubricsWidthSU in this override.
>>>
>>> \override
David Kastrup writes:
> Matthew Fong writes:
>
>> I tried the following inside the function, and all generate errors. I would
>> like to use the value of rubricsWidthSU in this override.
>>
>> \override #'(line-width . \rubricsWidthSU)
>> \override #'(line-w
. ,rubricsWidthSU)
The third one is perfect once you fix the difference between ' (quote)
and ` (backquote). , (comma) is only heeded within a backquote.
--
David Kastrup
rences
<http://lilypond.org/doc/v2.25/Documentation/contributor/compiling>
Have you checked it?
In particular, setting it up from a clone appears to be described in
<http://lilypond.org/doc/v2.25/Documentation/contributor/configuring-make>
--
David Kastrup
\voiceFour is the voice above
\voiceTwo.
The voices from the top (stem up) are counted 1, 3, 5, ... The voices
from the bottom (stem down) are counted 2, 4, 6, ...
For anything exceeding two voices, this is not exactly intuitive.
--
David Kastrup
"
up = \drummode {
\slurDown \grace {sn16 sn(} 4
}
\score {
\new DrumStaff
<< \new DrumVoice { \voiceOne \up } >>
\layout {}
}
But I consider it very likely that you actually don't want a slur but a
tie:
\version "2.24.2"
up = \drummode {
\grace {sn16 sn_~} 4
}
\score {
\new DrumStaff
<< \new DrumVoice { \voiceOne \up } >>
\layout {}
}
--
David Kastrup
Aaron Hill writes:
> On 2023-12-12 1:04 pm, David Kastrup wrote:
>> Aaron Hill writes:
>>>
>>> #(define (add-midi-to-score score)
>>> (define (has-midi? score)
>>> (any (lambda (x) (ly:output-def-lookup x 'is-midi))
>> Wouldn't
't that need to be (ly:output-def-lookup x 'is-midi #f) ?
> (ly:score-output-defs score)))
> (if (has-midi? score) score
> #{ \score { $score \midi {} } #}))
--
David Kastrup
set the key
it was working with. Just bump the number of sharps until you like the
enharmonic spelling.
--
David Kastrup
ne-char-column
> (ly:music-property which
> 'origin
>
>
> \markup { \locationOf {} }
Or even less esoteric:
\version "2.24.2"
locationOf =
#(define-scheme-function () ()
(apply format #f "~a:~a:~a:~a" (ly:input-file-line-char-column (*location*
\markup { \locationOf }
--
David Kastrup
ce, and presenters
get a nice social event on Saturday with catering.
--
David Kastrup
am not in the mood
to write a complete example myself for the sake of someone else. In
this case, I decided to just go with what was given and in that manner
show that a better prepared question would have made for a better
recognizable answer.
The actual recipient of the answer did get the solution. It just
appears that I confused other readers.
Sorry for that.
--
David Kastrup
ting
{
e( dis e ais, b g |
e8) r \afterGrace d'!(\trill { cis32\=1( d\=1) } |
c'!16) b^. a^. g^. fis^. e^. |
}
gives me
and a bar check warning.
--
David Kastrup
require 10-fold the
amount of work for anybody willing to help you. That decreases your
chances of finding volunteers to make useful suggestions.
--
David Kastrup
obaldi, and editing
Scheme-only files is nicer. And it blows the socks off anything as a
viewer for Lilypond's Info documentation.
I use Emacs for editing LilyPond because I am used to working with Emacs
for everything. But the LilyPond mode is really not holding a candle to
what Frescobaldi offers.
--
David Kastrup
inside of a \score .
Something like that. It doesn't help the user as much when you tell
them what doesn't create a MIDI file: after all, they will rather be
looking at how to create one.
--
David Kastrup
xt I should insert:
>> \new Dynamics{
>> s93-"rit." |
>> }
>
> But this code will start the rit when the s93 starts.
> To start the rit when the s93 has finished, insert an empty chord
>{ s93 <>-"rit." }
No such thing as s93. Maybe s1*93 was meant instead?
--
David Kastrup
to the next line. This puts the key cancellation _before_ the bar line.
--
David Kastrup
Jeff Olson writes:
> On 11/1/2023 6:37 AM, David Kastrup wrote:
>> <https://events.williams.edu/event/viennese-bass-lecture-demo-bret-simner/>
>
> Thanks, David. Now I'm really smiling to have learned something new!
> Your knowledge is more encyclopedic than Wikipe
Jeff Olson writes:
> On 11/1/2023 6:37 AM, David Kastrup wrote:
>> <https://events.williams.edu/event/viennese-bass-lecture-demo-bret-simner/>
>
> Thanks, David. Now I'm really smiling to have learned something new!
> Your knowledge is more encyclopedic than Wikipedia.
double bass listed
> among fretted instruments.
<https://events.williams.edu/event/viennese-bass-lecture-demo-bret-simner/>
--
David Kastrup
Jean Abou Samra writes:
> Le mardi 31 octobre 2023 à 20:40 +0100, David Kastrup a écrit :
>
>> > I'm not the OP but that is excellent documentation, save for one word:
>> >
>> >
>> > "In the following example, staves devoted to wind instruments
antage that you don't
get into trouble for a) pizzicato (which is weird for "bowed strings")
or b) viol (which is both bowed and fretted and may be used in a string
section for nostalgically informed practice).
--
David Kastrup
percussive, and even most percussive
instruments have some way of ending a note and/or providing for letting
it decay naturally. Your description makes it sound as if there is no
difference between a rest and a note continued by a tie.
--
David Kastrup
ot go bonkers because there isn't a
partial measure to start with.
I am not able to properly judge this from the MusicXML: how does this
appear to Finale? In particular, where does measure 1 start? With the
"partial" measure or the first full measure?
--
David Kastrup
ink Frescobaldi has its own MusicXML converter: if that is what you
have been using, you should file a problem report with Frescobaldi
rather than LilyPond.
--
David Kastrup
Will Turner writes:
>> On Sat, Oct 28, 2023 at 4:26 AM David Kastrup wrote:
>>
>>> Will Turner writes:
>>>
>>> > Here is my code:
>>> > PartPOneVoiceOne = {
>>> > \clef "treble" \time 3/4 \key d
Will Turner writes:
> Here is my code:
> PartPOneVoiceOne = {
> \clef "treble" \time 3/4 \key d \major | % 1
> \tempo "Prayerfully" 4=69 \stemUp \partial 4 fs'4 s2
>
> And that gives me the problem I described.
What's the s2 at the end supposed to be for?
--
David Kastrup
uld need to write
{ \time 3/4 \partial 4 c'4 ...
Namely, you need to write \partial 4 _before_ the partial measure, not
after it.
--
David Kastrup
gt; now tuplet brackets are too long:
>
> Since 2.25 there is also:
>
> \override TupletBracket.span-all-note-heads = ##t
>
> which I think does the right thing, at least in the Gould
> "old-style".
Not with regard to the problem I describe.
> Surely this should be the default?
Different problem, different question.
--
David Kastrup
contained 4 eighths instead of the three triplets:
--
David Kastrup
cted and the other not? Or does
this happen when voicify-music is applied multiple times (the second
time during scorification)?
All this appears mostly unrelated to \tuplet tripping over one but not
the other incantation.
--
David Kastrup
William Rehwinkel writes:
>> On 10/16/23 19:09, David Kastrup wrote:
>>> William Rehwinkel writes:
>>>
>>>> Dear David,
>>>>
>>>> This seems like an improper/unintended use of \tuplet.
>>> How so?
>>>
3/2 << { \voiceOne d''4 c'' es'' \oneVoice }
\new Voice { \voiceTwo g'4 as'2 } >>
isn't? Either one does not create a new voice context for the upper
line, as the tie reaching into the upper voice (here omitted) proves.
--
David Kastrup
sion rather than current master puts out.
But now there is neither warning nor crash.
--
David Kastrup
grave
> that...other than the obvious...
For tuba solo I think it would be important to indicate that one is
supposed to slap the instrument rather than the player.
--
David Kastrup
Kevin Cole writes:
> On Mon, Oct 16, 2023 at 8:33 AM David Kastrup wrote:
>>
>> Kevin Cole writes:
>>
>> > I'm transcribing a pub song, and at one point, there's a lyric
>> > "(clap)(clap)" with "X X" on the staff.
>> >
>&
in 6/8 time all on one staff -- which I
> guess in MIDI would probably be something like "r8 hc8 r8 hc8 r4" in a drum
> track (voice?) for that measure with the claps...
Something like
\new OneStaff {
\new Staff {
\time 6/8
e4. a4. |
\drums \with { \omit TimeSignature } { r8 hc8 r8 hc8 r4 } |
a2.
}
}
maybe ?
--
David Kastrup
re note lengths in the lyrics.
This will look uglier in the source, but it tends to be quite more
robust against music edits not affecting the syllable positions. And of
course, skips become quite easier to accommodate.
--
David Kastrup
quot; "adjusting bound-details" }
> \override DynamicTextSpanner.bound-details.right.attach-dir = #RIGHT
> c4 \cresc d e f \! |
> g \f f g a |
> g4 \dim f e d \! | \break
> c1 \mf |
>
> }
>
> Any ideas, or should I file it as a feature request?
Have you tried not "anything like to-barline" but rather _exactly_
to-barline ?
Like
c -\tweak to-barline ##t \cresc
and its ilk?
--
David Kastrup
David Kastrup writes:
> msk...@ansuz.sooke.bc.ca writes:
>
>> On Fri, 6 Oct 2023, Werner LEMBERG wrote:
>>
>>> Thanks. I think it's ghostscript – there are no pre-built packages
>>> available either. While LilyPond doesn't link to it in normal builds,
>&g
etween the two. Using
the Ghostscript API would be different: I'd expect distributions to
avoid that without explicit non-trivial user action.
> Of course, whether MacPorts's automated determination of
> distributability can capture this distinction, is another question.
--
David Kastrup
Jean Abou Samra writes:
>
>
>
>> Le 6 oct. 2023 à 15:47, David Kastrup a écrit :
>> \new Staff = "staff" {
>> c'1
>> } \addlyrics \with { alignAboveContext = "staff"} { Om }
>
>
> OMG! I didn't know that syntax at all. It looks
= "staff"} { Om }
Maybe you are not clear about what the name behind alignAboveContext
signifies? You need to have a VerticalAxis carrying context at the same
level with the given _name_, not with a particular _type_.
--
David Kastrup
llation
messages grobs and would precede them with the _previous_ number of
sharps/flats. So switching from E major to B♭ major would print 4♮2♭.
You would not get 0♮ however (not as a main signature, not as a
cancellation signature).
This may or may not be what the OP wants. But it would be one
7 natural signs before that.
Just add
\omit KeyCancellation
into the context amendment for \Staff in the \layout block.
--
David Kastrup
e c fis \expt
> \transpose c ges \expt
> \transpose c g \expt
> \transpose c gis \expt
> \transpose c as \expt
> \transpose c a \expt
> \transpose c ais \expt
> \transpose c bes \expt
> \transpose c b \expt
> }
>
> Cheers,
> Valentin
To pour some rain on your parade, end the music with a final \expt ...
My revenge for you beating me to the punch line.
--
David Kastrup
Linux installation.
--
David Kastrup
ly ignoring
> the quiet bits.
I have no idea why anybody would consider that a sensible default, to be
honest. I have a hard time imagining a sensible use case at all.
Possibly skipping initial silences in manually recorded MIDI files that
aren't edited at all in a sequencer?
But that does not really sound all that sensible.
--
David Kastrup
I don't have timidity installed and consequently am also missing its
manual pages or I'd have checked.
--
David Kastrup
y as a player skips initial rests.
Try fluidsynth -ia pulseaudio -n on your MIDI file as an alternative (on
my system, I get inexplicable problems with -ia pipewire or -ia alsa)
instead.
--
David Kastrup
he file: 4 seconds; and that's how long it plays for.
That's all circumstantial evidence. Nobody so far has actually attached
the resulting MIDI file and/or the output of
lilymidi --pretty
on it. That would be way more informative.
--
David Kastrup
m I missing something?
It is a consequence of syntax compatibility to previously when
\alternative could follow a \repeat rather than be inside of its body.
So the last music before an in-\repeat \alternative must not be a
\repeat without \alternative or it will sweep up the \alternative for
itself. As you noticed, braces are the proper workaround.
--
David Kastrup
ld take care of symmetry and
length issues.
--
David Kastrup
preciated!
make info
will do the info pages with images, as opposed to just
make all
which creates info pages without images. I am not 100% sure whether
"make info" works without a preceding "make doc" these days. There was
some aggrievance of that kind at some point of time in the recent past.
--
David Kastrup
ame as \note {2} #UP
If you are not calculating note values, \note tends to have the simpler
syntax.
--
David Kastrup
;2.25.7"
#(define foo `((96 . ,#{ \markup { \note-by-number #1 #0 #UP }#})))
{ c'1^\markup {#(cdr (assoc 96 foo))} }
--
David Kastrup
reasons: you lose a proper idea about what you are
actually doing. Both ( and ) are post-events following a note and can
have a direction prescribed using _ and ^ (ok, it is only heeded for the
opening brace).
So you can just write:
\version "2.22.2"
\relative c'' {
4_(
bes16)( a c bes d c ees d)
}
--
David Kastrup
elocity.
>
> You mention that Dynamic_performer "lives at Voice level" by default. Is
> this a default I can override, and would that help?
Yes, and yes.
\midi {
\context {
\Voice
\remove Dynamic_performer
}
\context {
\Staff
\consists Dynamic_performer
}
}
--
David Kastrup
msk...@ansuz.sooke.bc.ca writes:
> On Sat, 16 Sep 2023, David Kastrup wrote:
>
>> Try
>>
>> \new Staff << \MyMusic \MyDynamics >>
>>
>> since otherwise the variables will end up in separate Staff contexts.
>
> With the following code,
<< \MyMusic \MyDynamics >>
> \layout { }
> \midi { }
> }
>
> After compiling that, I get a MIDI file in which the notes are just at the
> default velocity without any dynamics being applied.
Try
\new Staff << \MyMusic \MyDynamics >>
since otherwise the variables will end up in separate Staff contexts.
--
David Kastrup
LOL
Graham was really good at getting people involved and matching their
capabilities to tasks. It's a good sign that you seem to be getting
there again.
--
David Kastrup
008 +0100
Docs: Templates: piano centered dynamics
> I mean, this would just be a matter of adding the style to the
> accidental-styles alist in scm/music-functions.scm (plus updating the
> documentation and regtests). Just saying...
Indeed that sounds like a job for an uncautious "Yes" sayer.
--
David Kastrup
\transpose and
> \relative gracefully (since the assignment of actual pitches is
> complete when the music function is applied on the outside).
Iff the music function is applied on the outside.
--
David Kastrup
nvention. Enough so that editors and other
utilities making decisions (like syntax highlighting) based on the file
name will tend to know what to do with .ily.
--
David Kastrup
are several processing stages for music: out of my head:
Entry, scorification, iteration (several different internal phases for
that as well), page breaking and output.
Iteration is done separately for typesetting and MIDI and of course page
breaking is just done for typesetting.
--
David Kastrup
tml>
The mailing list _digests_ may omit attachments, but why would you be
referring to them when you have a copy of the mail?
--
David Kastrup
[ d b ] c [ g c ] b g b} |
\tuplet 3/2 8 { e16 g e g e g a e a b d b c g c b g b} |
}
\score {
<<
\new Staff \melody
\new Staff \with {
beamExceptions = \beamExceptions { \tuplet 3/2 {
16 [ 16 16 ] 16 [ 16 16 ] 16 [ 16 16 ] 16 [ 16 16 ] 16 [ 16 16 ] 16 [ 16 16 ] } } }
\melody
>>
}
--
David Kastrup
int exception core dump…
>
> 'No idea why though nor do I need \articulate anyway. closing.
Well, it certainly expands the problem space. But my own uses also
employ articulate.ly . So it will still require something more special
to trigger problems.
--
David Kastrup
ped)
>
>> it has worked for at least a year or so here.
>
> No MWE for now but will provide if needed.
Can you think of a case where it wouldn't be needed?
--
David Kastrup
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