Aaron Hill writes:
> On 2020-01-13 12:58 pm, David Kastrup wrote:
>> Uh, you are aware that you can easily configure your mailing list
>> options to _not_ include you in mail you are already receiving via
>> other
>> headers?
>> And lo and behold: no need to
Here is a handy link
to click for that:
<mailto:lilypond-user-requ...@gnu.org?subject=set%20duplicates%20off>
And lo and behold: no need to lecture anybody anymore.
--
David Kastrup
in some circumstances. If there are inconsistencies in the effects
of \offset that make no sense to users, then one probably needs to see
whether the positioning can be changed in a manner where meddling with
it delivers the expected results.
--
David Kastrup
be a useful addition to the Lilypond codebase.
What's wrong with \offset itself?
--
David Kastrup
. This one hasn't. I'll
readily admit that it is bad. It not being there, however, will likely
be worse at least for some readers.
> Of course, it may be that the manual isn't meant to be aimed at a
> complete novice like myself; but if it is, then it definitely needs an
> overhaul.
Sure, like most of what I write. But there are not many people around
for overhauling.
--
David Kastrup
with
alignBelowContext it can be positioned correctly beneath the (named)
lyrics context containing the first verse.
Examples showing this repositioning of temporary contexts can be
found elsewhere — see Nesting music expressions, Modifying single
staves and Techniques specific to lyrics.
And of course, in "Techniques specific to lyrics" we find
<http://lilypond.org/doc/v2.18/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-vertically>
which goes to some detail.
--
David Kastrup
note-collision: retain upper voice dot when merging dots
is responsible here? Though this particular patch seems only to add
some cosmetic decision here. At any rate, the dot merging code likely
does not cater for hideNotes.
--
David Kastrup
David Kastrup writes:
> Thomas Morley writes:
>
>> Am Mo., 6. Jan. 2020 um 00:53 Uhr schrieb Malte Meyn :
>>>
>>>
>>>
>>> Am 06.01.20 um 00:02 schrieb Craig Dabelstein:
>>> > Hi all,
>>> >
>>> > I've been using
A minimal for the problem:
>
> \markup
> \center-column {
>foo
>\translate #'(0 . 3)
>\with-dimensions #empty-interval #empty-interval
>bar
> }
>
> With 2.19.82 "bar" is printed, it completely disappears with 2.19.83
> No clue what happens and why.
> Probably a bug, to tired to do further research, thoug.
Bisecting.
--
David Kastrup
"Mark Stephen Mrotek" writes:
> David,
>
> I was not specific in my request. The original (Mozart K 310) has the middle
> voice to the right.
>
> Thank you for your attention.
Well, use \voices 1,4,2 instead of \voices 1,2,4 then.
--
David Kastrup
"Mark Stephen Mrotek" writes:
> David,
>
> Thank you for the suggestion.
> In each measure the first note of the middle voice is still colliding.
>
Hm. In the second measure I have a collision with a dot. But no
collision otherwise. Does it look differently with you?
--
David Kastrup
\relative c' {
\voices 1,2,4
<<{c'2~ c8. dis16 e8. c16 | b2~ b8. dis16 e8. b16 |
a2~ a8. b16 c8. a16}\\
{e2 fis | dis e | cis dis}\\
{
b'8. b16 a8. gis16 a2~ | a8. a16 g8. fis16 g2~ |
g8. g16 fis8. e16 fis2}>>
}
--
David Kastrup
. =)
>
>
> That is, even the ‘programming quotes’ in the code example by Kieren
> wouldn’t be necessary.
"“like this”" is one word, “like this” are two words. That's important
in lyrics mode and in some other respects like line-wrapping.
--
David Kastrup
;. }
> \line { Neither does `"this`". }
> \line { This makes a ‘“little mess'". }
> }
> }
>
> Thanks much. Happy Holidays. The days are getting lighter.
\line { This does "\"work\"." }
Bit of a nuisance, but within double quotes, \" creates a double quote mark.
--
David Kastrup
ht, so later entries
override earlier ones."
--
David Kastrup
n "2.19.83"
>
> { f'4\trill\upbow( e') }
>
> { f'4\upbow\trill( e') }
>
> { \once \override TextScript.script-priority = #-100
> f'4\trill\upbow( e') }
>
> { \once \override TextScript.script-priority = #-100
> f'4\upbow\trill( e') }
>
> %
>
> Thanks for your help,
>
> Ralph
--
David Kastrup
uld have been able to fix,
or should have been able to fix but wasn't.
--
David Kastrup
uot;Y" "Z"
> is also errored.
>
> And here I get stuck, just like the markup-list does.
What's wrong with using #{...#} ? Seriously.
You could use
$(make-concat-markup (map make-box-markup '("X" "Y" "Z")))
if you insist on avoiding #{...#} but why bother?
--
David Kastrup
Aaron Hill writes:
> On 2019-12-13 3:54 am, David Kastrup wrote:
>> Peter writes:
>>> A regular oddity is the message no glyph for U+92 in the .off file ?
>>> significant?
>> It means that in the given font there is no backslash. Text font
>> layout
.
> Many thanks for bearing with an old ponder.
--
David Kastrup
erstand how the parts
> are read in to the parser. How is it divided, ans each read in to scheme
> ( as i understand it is converted to).
Try running LilyPond with -ddebug-parser . The output is related to the
printed LilyPond grammar in the LilyPond Notation Reference appendices.
--
David Kastrup
ations of earlier versions that made your code work. It is
unlikely that you would not remember editing your LilyPond version, and
it is unlikely that a specialized area like that would be customized to
work differently in a subtly different manner without the person making
such a change remembering it.
--
David Kastrup
Thomas Morley writes:
> Am Mi., 11. Dez. 2019 um 15:16 Uhr schrieb David Kastrup :
>>
>> "Peter Gentry" writes:
>>
>> > It seems that the issue reared its head as a result of my "erroneous"
>> > assumption that
>&g
eone with access to older versions check whether this was
different at some not-too-distant point of time in history? If it was,
something intended to be a "refactoring" might have been an actual
change. I am not ruling that out, but should be surprised if it were
so.
--
David Kastrup
>
> Despite the Completed successfully in 1.9 there was no music output - just
> the attached header page .
You did notice that 2 files got produced for whatever reason not
discernible from your description? Namely Op38_Gg_L2_Test.pdf as well
as Op38_Gg_L2_Test-1.pdf .
--
David Kastrup
reduce these complication header complications to
> isolate the issue one step at a time.
Maybe that would help making more focused descriptions as well.
--
David Kastrup
n -ddebug-parser . The output will be humongous. You can
direct it to a file and try capturing the last few dozen lines before
the error to guess what may be happening.
--
David Kastrup
> output is PDF or MIDI. This creates a maintenance burden, as then
> simple changes need to be made in multiple places--usually a sign of
> badly written code.) Any ideas appreciated.
\unfoldRepeats tremolo,percent { ... }
Supported since Issue 5003, version 2.19.53 .
--
David Kastrup
Michael Käppler writes:
> Am 29.11.2019 um 23:27 schrieb David Kastrup:
>> Michael Käppler writes:
>>
>>> Hi all,
>>> I would like to color all successive notes in a voice that span a
>>> certain interval, like e.g. a perfect fifth upwards
Peter Toye writes:
> David,
>
> Thanks for this. My comments are below. My mind is much clearer now.
>
> -
> Friday, November 29, 2019, 10:25:36 PM, David Kastrup wrote:
>
>> Peter Toye writes:
>
>>> I'm a bit confused by he docu
just a callback function for a NoteHead's color property should be
fine.
--
David Kastrup
it.
Though being able to get rid of override-property eventually would be a
good thing. That's a really ugly duckling.
--
David Kastrup
Gianmaria Lari writes:
> On Tue, 26 Nov 2019 at 14:14, David Kastrup wrote:
>
>> Thomas Morley writes:
>>
>> > Am Di., 26. Nov. 2019 um 09:30 Uhr schrieb Gianmaria Lari
>> > :
>> >>
>> >> This code works.
>> >>
>&g
; <>^\markup { M } $nota
Like in
test = <>^\markup { M }
There is no need for a function at all using this approach.
--
David Kastrup
Hans Åberg writes:
>> On 24 Nov 2019, at 22:20, David Kastrup wrote:
>>
>> Hans Åberg writes:
>>
>>>> On 24 Nov 2019, at 16:39, kupirijo wrote:
>>>>
>>>> So the turkish-makam.ly that I downloaded earlier requires a f
<https://www.smufl.org>; it must be installed so that lilypond sees
> it. I’ll send them to you together with Helmholtz-Ellis in E53.
>
>> Also where can I download the latest version of turkish-makam.ly?
>
> It looked like it was in the LilyPond source archive, otherwise from Adam.
And requires OpenLilyLib to run?
--
David Kastrup
ot less on the s1 being present or
not.
> When using lyricsto, this also works:
\lyricsto changes the timing of the lyric syllables to match the timing
of the associated Voice. Completely different scenario.
--
David Kastrup
; and
>
> e~e
>
> but it doesn't! It generates
>
> c c
>
> and
>
> e~e
>
> Why no ties in the first score?
Why would there be a tie? This is:
\keepWithTag #'first {\tag #'first c' \tag #'second e'~ ... }
> Any "fix"?
{ \keepwithTag #'first \test ~ \keepwithTag #'first \test }
--
David Kastrup
LilyMusic would be the best
approach for your purpose but I did want to point out that catching
output in a string is always an option in Scheme's port model.
>
> David Kastrup wrote on 11/19/2019 3:43 PM:
>> Stephen Cummings writes:
>>
>>> Am I missing a basic Lily
probably a bit cheeky to $\etc the scheme function
in anonymously. But you could give a name to the define-scheme-function
call as usual.
--
David Kastrup
''_\p c'' c'' c'' c''^\fpoco c''
> c'' c''^\ppecresc
> }
>
> \score {
> \new Staff { \treble }
>
> \layout {
> \context {
> \Score
> \override DynamicText.font-size = #-2
> }
> }
> }
>
>
> %
>
>
--
David Kastrup
unfold 2 { b'4 4 4 4 }
> \bar "||" \pushTempo \tempo "Allegro" 4=140
> \repeat unfold 2 { b'4 4 4 4 }
> \bar "||" \popTempo \tempo "a tempo"
> \repeat unfold 2 { b'4 4 4 4 }
> }
> \layout {} \midi {}
> }
>
>
>
> -- Aaron Hill
>
>
--
David Kastrup
usic } \unset \temporaryTempo
>
> This would be useful for the midi output...
\omit \tempo 4 = 120
should change back without visual effect. Not tried it.
--
David Kastrup
; Thank you so much, now my source is almost readable, and so much
> quicker!
--
David Kastrup
emove-layer = 1
}
\violII
\new Staff \with { instrumentName = "Violins"
shortInstrumentName = "V I"
\override VerticalAxisGroup.remove-layer = 2
}
<< \violI \\ \violII >>
>>
\layout {
short-indent = 2\cm
indent = 3\cm
}
}
--
David Kastrup
re that this version series will stay for many years.
With regard to GUB, 2.7 compatibility makes for a much nicer transition
period. But GUB is not likely involved in uses of that package which
seems to be mainly used in a TeXlive context. I haven't checked, but I
think that TeXlive is pretty much prepared to use Python3.
--
David Kastrup
Matt Wallis writes:
> On 08/11/2019 14:30, David Kastrup wrote:
>> Matt Wallis writes:
>>
>>> But it doesn't work if I try to set the midiPanPosition inside a midi
>>> context block like this:
>>>
>>> \version "2.19.83"
&
Thomas Morley writes:
> Am Fr., 8. Nov. 2019 um 15:35 Uhr schrieb David Kastrup :
>>
>> Matt Wallis writes:
>>
>> > But it doesn't work if I try to set the midiPanPosition inside a midi
>> > context block like this:
>> >
>> > \versio
do the setting in the midi context block because I require
> different pan positions for a staff depending on which score it
> appears in.
Then create different variables/expressions for that purpose. But the
\midi block cannot sensibly differentiate between differently named
contexts.
--
David Kastrup
ail) so is
> "Quartet_No.1_Éloge_Movement1-Violin1" (The quotes being part of the
> variable definitions and use, not part of the name).
Pretty much so.
--
David Kastrup
n I is assigned a new value for
the key 1.
> Is this documented, or did you experiment?
Documentation is probably not all that extensive.
--
David Kastrup
y give much of an
idea of what you do.
> All but the last sublist will be of equal lengths, the last may or may
> not be shorter.
--
David Kastrup
namical, and how the two would be
supposed to interact.
--
David Kastrup
Malte Meyn writes:
> Am 02.11.19 um 00:19 schrieb David Kastrup:
>> Afterwards you use Frescobaldi's transpose function to transpose your
>> input to the actual original key, proofread with soprano clef and
>> finally reprint with treble clef.
>>
>
> Even better:
♭ and D-E♭ which look like
B-C and F♯-G, so pretend that this is really written in E Minor in
treble clef and afterwards use Frescobaldi's transpose function to get
it from E down to C.
It's a similar operation as transcribing something from treble clef to
bass clef.
--
David Kastrup
suitable key that would have those semitone positions
if the clef were actually the treble clef, and then enter in that key,
pretending that it were in treble clef.
Afterwards you use Frescobaldi's transpose function to transpose your
input to the actual original key, proofread with soprano clef and
f
ou want
separate stems) or not (like in a piano extract done with the voice
combiner). This kind of an optional bass octave at deliberation of the
singer is sort of a weird middle case.
--
David Kastrup
p of the staff to
> the "b" also at the top.
>
> • It would be elegant to have the slur repeated below.
>
> Similarly for
>
> d4( )
>
> • it would be nice to have two slurs originating from the "d".
There is the doubleSlurs property you can set. But you can also write
explicitly
d4^(_( )
to get slurs above and below.
--
David Kastrup
Hans Åberg writes:
>> On 31 Oct 2019, at 21:31, David Kastrup wrote:
>>
>>> All those parts should be LGPL, and also included headers, I believe:
>>> Not GPL, because that would legal technically force copyright
>>> limitations on the output, and not pu
PostScript these days instead of
executing it right away in the form of some document processing
workflow.
So that is indeed something that would warrant getting separate
appropriate licensing attention, but in most use cases it would end up
not being relevant since there are few workflows where a PostScript file
ends up as something to be distributed.
--
David Kastrup
Hans Åberg writes:
>> On 30 Oct 2019, at 23:05, David Kastrup wrote:
>>
>> Hans Åberg writes:
>>
>>> The snippets should be LGPL for being includable under other licenses,
>>> I believe, because the processed part remains in the output, and thus
&
> copyrightable. Thus, they play the same role as the Bison skeleton
> file and GCC libraries.
LSR snippets are public domain already.
--
David Kastrup
tent-reflecting parts of the source code. Of which you
are the copyright holder.
So the solution is not to distribute your source code embedding GPLed
elements.
--
David Kastrup
Karsten Reincke writes:
> On Wed, 2019-10-30 at 01:36 +0100, David Kastrup wrote:
>> Karsten Reincke writes:
>>
>> > [...]
>> >
>> > Hence, if I use a piece of software as library, snippet, or module,
>> > then I am using the advantage that I
Karsten Reincke writes:
> On Wed, 2019-10-30 at 00:46 +0100, David Kastrup wrote:
>> [...]
>>
>> I disagree with your assessment that calling any code/function makes
>> the
>> work doing so a derivative of that code (that would concern using
>> OpenLi
k
> and goals).
MIT license definitely permits relicensing, but of course without
copyright to the actual code, you would not have standing for enforcing
the license of a relicensed (or non-relicensed) version, so that does
not make a whole lot of sense for an unmodified version.
--
David Kastrup
legal act for getting it there I assume, like holding a gun
to their head) in your possession.
--
David Kastrup
Urs Liska writes:
> Am 29. Oktober 2019 00:04:06 MEZ schrieb David Kastrup :
>>Andrew Bernard writes:
>>
>>> I am finding this thread weird, sorry. There's a huge amount of help
>>in the
>>> archives of this list in how to install and run openlilylib. A q
nd source code?
Or otherwise be prohibited from distribution?
That's not really practical for most choir directors.
--
David Kastrup
\tweak extra-offset $xy
> $ev
> #})
Worth mentioning that if you have 2.19.83, the above can be written as
placeAbsolute = -\tweak whiteout ##t
-\tweak outside-staff-priority ##f
-\tweak Y-offset 0
-\tweak extra-offset
\etc
--
David Kastrup
;
>> The offending r1 is on the 3rd line of the first branch of the
>> alternative below - and if I change that r1 to “r4 r4 r4”, or to
>> “r2.”, the issue goes away.
>
> Lilypond is right, r1 is 4 beats long. What you probably want is
> r1*3/4 or most likely (and
the source file?
Probably none. I think that R only looks at the actual time spent and
doesn't care just how the time is spent. But if the next note is, say,
c' then a default duration of 2. and a default duration of 1*3/4 will
make it look different.
--
David Kastrup
_
Thomas Morley writes:
> Am So., 20. Okt. 2019 um 12:58 Uhr schrieb David Kastrup :
>>
>> Thomas Morley writes:
>>
>> > Am Sa., 19. Okt. 2019 um 14:45 Uhr schrieb David Kastrup :
>
>> >> b) change a property (akin to offset but probably unique to \und
Thomas Morley writes:
> Am Sa., 19. Okt. 2019 um 14:45 Uhr schrieb David Kastrup :
>
> Yep. I think it's not the way to go.
>
>> b) change a property (akin to offset but probably unique to \underline
>> to avoid unexpected interactions) for the sake of additional
>>
dependent from that of multiple underlines.
By the way, it's "an under...", not "a under...". That's not at all
relevant to the problem, merely a distraction for focusing on the
images.
--
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Thomas Morley writes:
> Am Sa., 19. Okt. 2019 um 13:35 Uhr schrieb David Kastrup :
>>
>> Thomas Morley writes:
>
>> > Iiuc, you recommend to fix \underline to make it work with most simple
>> > input like:
>> >
>> > \markup {
>&g
Thomas Morley writes:
> Am Sa., 19. Okt. 2019 um 12:42 Uhr schrieb David Kastrup :
>>
>> David Kastrup writes:
>>
>> > Thomas Morley writes:
>> >
>> >> Am Fr., 18. Okt. 2019 um 19:21 Uhr schrieb Carl Sorensen
>> >> :
>> >
David Kastrup writes:
> Thomas Morley writes:
>
>> Am Fr., 18. Okt. 2019 um 19:21 Uhr schrieb Carl Sorensen
>> :
>>>
>>> Why not add it to lilypond proper? I think that we would want to be
>>> careful about property names (perhaps with an underli
Opinions?
"amount" sounds like something you'd use for a floating-point measure as
opposed to "count" you'd use for, well, countable items. I rather
dislike that name as it is so very unspecific. It would even match some
criterion like "thickness".
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foxfanfare writes:
> David Kastrup wrote
>> So you need to
>> put basically anything after the assignment to "num" before calling the
>> \include statement.
>
> Thanks for your answer David, but I'm sorry I'm not following you here. What
> should I c
statement is evaluated before the
assignment to "num" is complete since LilyPond syntax allows things like
num = "01".oh
and the ."oh" might be provided by the included file. So you need to
put basically anything after the assignment to "num" before calli
hich LilyPond does
> not compile with.
That's something that could be changed at some cost if it were
significant.
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when a 64-bit
> Mac binary will appear on lilypond.org.
"There is no solid timetable" is a euphemism. It's more like "there is
no feasible plan that would result in a 64-bit Mac binary for download
from lilypond.org".
--
David Kastrup
___
l
lessly even with pickup since
pickup and last measure (usually) add up to one complete bar. Giving
both pickup and last measure a number of its own would be detrimental to
this kind of reckoning.
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rks when I write "x" but crashes
> with "X").
Naming a variable X will likely crash LilyPond since X is already used
to designate the X axis and quite a bit of Scheme code depends on it.
Try using longer variable names.
--
David Kastrup
_
gt; Y-Extent of the frame to include the other staff.
>
> Any suggestions?
Take a look at ly:grob-common-refpoint and ly:grob-relative-coordinate
. Do they help?
--
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1,1 % beatStructure
\beamExceptions { \tuplet 3/2 { 8[ 8 8] 8[ 8 8] 8[ 8 8] 8[8 8] } }
% beamExceptions
}
--
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> Or is it just too complicated to be worth it?
A slightly different approach in order to avoid the explicit event
function definition:
\version "2.19.83"
withMinLength = -\tweak springs-and-rods #ly:spanner::set-spacing-rods
-\tweak minimum-lengt
msk...@ansuz.sooke.bc.ca writes:
> On Mon, 30 Sep 2019, David Kastrup wrote:
>> The respective lines in lily/lexer.ll read
>>
>> A[a-zA-Z\200-\377]
>> SYMBOL {A}([-_]{A}|{A})*
>> COMMAND \\{SYMBOL}
>
> Interesting
127), with isolated - and _ characters allowed inside.
The respective lines in lily/lexer.ll read
A [a-zA-Z\200-\377]
SYMBOL {A}([-_]{A}|{A})*
COMMAND \\{SYMBOL}
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ht
of a pull request to a one-way mirror of
LilyPond?
[...]
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where
tweaking chords actually tweaks the notes inside. If you want to have
this work with earlier versions, you need to tweak the particular note
that the NoteColumn grob happens to be created from. I don't know which
one this would be. The current code in the development version woul
il are somewhat quirky.
There may be a bug involved.
I'd just punt here and use
%%% Start
\version "2.19.83"
\include "english.ly"
\relative {
\scaleDurations 2/3 {
af''8 g8. f16 f8 ef8. df16
\tuplet 3/2 { df16[ ef df } c8 r16 bf]
}
}
%%% End
--
David Kastrup
__
ation.
>>
>> I think all of your argument names are a bad idea. [...]
>
> Fixed, thanks.
>
>> It also seems writing -\f rather than \f suggests that it would not
>> work otherwise while it does.
>
> OK.
Oops, and of course #etc (or whatever it is called now).
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uot; ? And by the way, the predicate should be the
more specific ly:event? , or otherwise construction of a post-event will
fail at an unexpected place when a non-postevent is given as argument.
It also seems writing -\f rather than \f suggests that it would not work
otherwise while it does.
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er.Y-offset #Y
> \etc #})
Should have worked when using -\moveDynTweak ... Since you are not
using this for anything other dynamic expressions, it would be likely
better to use define-event-function here, obviating the need to write -
before \moveDynTweak .
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t wine, as suggested by the original glass symbol.
One would certainly want to avoid that the result of a Margarita mixing
song ends up being a Pinacolada. Clearly more symbols are needed.
--
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\once \offset Y-offset #Y DynamicLineSpanner
> \etc #})
>
> but this doesn't work.
There is a difference between a tweak and an override.
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k...@aspodata.se writes:
> Jacques Menu:
> ...
>> Now, how about a full 12xn table service?
> ...
>
> What is that ?
I'd assume a set for 12 persons consisting of n items for each.
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>> ...
>
> The first basses won't get much drinking done during a vivace
> crotchet, especially as they have to squeeze a breath in as well! Why
> do the other voices get five times as long to get tipsy? I think we
> should be told ...
Because they are still sober
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