d
> \break
> \clef "bass" c4 b a2 }
> \new Staff \Musik
> Thanks,
> Stefan
\version "2.22.1"
Musik = \relative c'' {
\clef "treble" g f e d
\break
\clef "bass" c4 b a2 }
\new Staff \with { explicitClefVisibility = #end-of-line-invisible } \Musik
--
David Kastrup
troduces a non-evaluated constant expression but you need to
evaluate #{ ... #} to get a markup. So try
#(define instructions `( ;; note backtick instead of forward tick
(1 . ,#{ ;; note comma to evaluate one part of the
;; quasi-quoted list
--
David Kastrup
> variable #'key = #'value
> % ...to...
> variable.key = #'value
>
commit 10df1245877fb5e16410388ef42b71c9aa06a9d9
Author: David Kastrup
Date: Mon Mar 30 00:49:14 2020 +0200
Issue 5872: convert-ly rule for 2.19.39 as cleanup for issue 4800
That issue made previously valid
ould
be required for this.
> Taking the example from the NR 1.3.2:
>
> \version "2.22.0"
>
> \fixed c' {
> 2
> 2
> }
--
David Kastrup
ond throws an error.
You probably forgot the \context block here. Please, please, please:
whenever you make a statement about some code, _include_ the code you
have actually been using and include the error message.
--
David Kastrup
r Beam or whatnot, this scheme does not scale.
But it might work for some situations.
--
David Kastrup
ate:
> You believe the default is incorrect (in which case I will work up a patch)?
> Or something else…?
No, the default already is #f I think.
--
David Kastrup
do the trick. Turns out that
outside-staff-interface should be #f by default anyway?
--
David Kastrup
here. outside-staff-priority tells how
to stack outside-staff objects with one another. What you need here is
\override CueVoice.TupletBracket.staff-padding = ##f
to stop TupletBracket from being shy of the staff itself, never mind
other outside-staff objects.
--
David Kastrup
t;> few minutes of not finding the right incantation…
>
> I never really understood the outside-staff behaviour, to be
> honest. It's well possible that there's an elegant solution that just
> tells LilyPond to go ahead and put the tuplet bracket into the staff.
Uh, that's what setting
ument, so this mechanism cannot be
used for this purpose. You can set skipTypesetting to ##t but that will
also omit the skipped times. Maybe setting Staff.midiExpression to 0
might work?
--
David Kastrup
e lengths and the associated
> chordmode timing.
>
> Use a duration of 1. That is 6 quarter notes, or 12 eighth notes.
Possibly less ambigous way of spelling this:
Use a duration of 1. which is 6 quarter notes, or 12 eighth notes.
Or even:
Use a duration of "1." which is 6 quarter notes, or 12 eighth notes.
--
David Kastrup
y = #1600
> <>^\markup\italic{long}
> r8\fermata
> }
Make \fermata an outside-staff object.
{
r2 r4 r8
<>^\markup\italic{long}
r8\fermata
r2 r4 r8
<>^\markup\italic{long}
r8-\tweak outside-staff-priority #100 \fermata
}
--
David Kastrup
er }
> { ... }
>
> %% ...or... %%
>
> \layout {
> \context {
> \RhythmicStaff
> \boxify MeasureCounter
> }
> }
>
You can also do this less specifically:
\layout {
\boxify Staff.MeasureCounter
}
should affect all contexts that respond to an _alias_ of "Staff" which
includes RhythmicStaff .
--
David Kastrup
ble for getting something
better out.
--
David Kastrup
mystring) ( string? ) #{
> \header { piece = \markup\bold #mystring }
> #})
A header is not music. Use define-scheme-function instead.
--
David Kastrup
\words }
> >>
> }
>
Don't use bar checks in material distributed by \addlyrics . Because
bar checks are distributed alongside, so when ??? is matched to c2 , the
subsequent | in the lyrics is placed at r4 rather than after it and thus
not at a measure boundary.
--
David Kastrup
about font handling so I cannot say anything concerning that.
> What are your takes on this?
I don't see what you propose that isn't already covered. Perhaps some
actual examples of what you want to achieve would help?
--
David Kastrup
taff
that already needed to be created for the sake of the appoggiatura. As
Knute stated, for settings supposed to be an unchanging part of some
context, it makes more sense to establish them in a \with block rather
than inside of the context after it has already started. Instrument
names certainly belong in that category.
--
David Kastrup
ter, and
when it is not for the sake of following syllable distribution, what is
it that is governing your choices?
Anyway, given the number of explicit beaming instructions in your score,
I consider it likely that removing \autoBeamOff would not even make a
difference in the resulting beaming while telling LilyPond that it
should disregard beaming in its melismeta decisionmaking.
--
David Kastrup
t; probably is not that bad as a search term.
>
> \version "2.22"
>
> {
> \once \set doubleSlurs = ##t
> 4( )
> }
Somewhat more verbose than just writing
{
4^(_( )
}
--
David Kastrup
already have many similar bugs and it
> is amply clear by now that cross-staff handling
> will need a complete overhauling and not
> just localized fixes.
I think one change should be that cross-staff needs to be more than a
flag. It rather needs to be a pair of staves identified in some manner
where distancing of any staff pairs in that interval will not involve
the cross-staff material, but it otherwise will contribute to the
outlines and dimensions, and particularly to the distancing from staves
outside of the cross-staffed interval.
--
David Kastrup
not free, it requires a bit of computation power. Google
> even once redirectes https to http because the load was too high. So
> if any webpage uses SSL the internet would suddenly require noticably
> more power.
That ship has more or less sailed these days.
--
David Kastrup
Valentin Petzel writes:
> Hello David,
>
> I think that is implicitly specified by the term „working”.
The word "working" is not anywhere on the webpage
<https://lilypond.org/tiny-examples>.
--
David Kastrup
is web page does not actually
mention that one should try to get as close to actually compiling as
possible (namely, the example should only fail compilation if that
failure is an inherent part of your problem in the first place, like
when you are writing code that you _wish_ could compile).
--
David Kastrup
now of does this.
Web hosting is done by Han-Wen (I think) who works at Google. So that
was sort of a natural choice to make when we outgrew the previous
hosting. So it's likely to be sort of a headache to move.
--
David Kastrup
"R. Padraic Springuel" writes:
>> On Oct 18, 2021, at 5:57 PM, David Kastrup wrote:
>>
>> I'd lean towards defining \man like in the question and a function \maN
>> that takes the following markup and concatenates it. That's viciously
>> unclever b
nput. For that one first has to develop an
input process and see what problems are "hard" in that context.
--
David Kastrup
when dev. creative scripts in or linked to Lily that are part of my
> composition as "musical objects primitives" : code that will generate
> Lily code ?
What are you concretely talking about? Obviously there is no "if it is
LilyPond code, it is free for the taking" guarante
o clef change at the repeat sign at all.
I have
\version "2.22.1"
{
% \override Score.BarNumber.break-visibility = #all-visible
\clef tenor
\repeat volta 2 {
c'1
\clef bass
c'1
}
\alternative {
{
c'1
\clef tenor
}
{ \grace s128
\once\hide Staff.BarLine \bar "|"
\once \omit Score.BarNumber
\clef bass c'1 }
}
c'1
}
but I think it may rely on issue 34 not getting fixed. At least I find
the combination and order of things that "worked" here unconvincing.
--
David Kastrup
ith that
combination.
At any rate, <>\! is a rather frequent necessity to keep stuff where it
belongs (the closing brace is from a \repeat volta for example).
So I find myself littering a lot of my input with <> in the process of
structuring it in a way I find natural to work with.
--
David Kastrup
Thomas Morley writes:
> Am So., 24. Okt. 2021 um 12:29 Uhr schrieb David Kastrup :
>>
>> Kira Garvie writes:
>>
>> > What I was told is that there are some features on the back-end of the
>> > program that turns the Lilypond scores into manipulatable s
s is sort of
ridiculous for ongoing work.
I mean, I fondly remember the large party at my place releasing 2.16 but
nostalgia only goes so far...
--
David Kastrup
supported using multiple versions of
LilyPond for a long time now. Of course, an older version of
Frescobaldi will not know about newer syntax features (like pitchless
music for percussion entry and a number of other things).
--
David Kastrup
Paolo Prete writes:
> On Thu, Oct 21, 2021 at 3:04 PM David Kastrup wrote:
>
>>
>>
>> Here's a cut of something I currently use in scores of mine for
>> doing things like accelerando, ritardando, and so on.
>>
>> tempoChange =
>> #(define-m
Paolo Prete writes:
> On Thu, Oct 21, 2021 at 2:01 PM David Kastrup wrote:
>
>> Paolo Prete writes:
>>
>> > On Thu, Oct 21, 2021 at 1:22 PM David Kastrup wrote:
>> >
>> >> Paolo Prete writes:
>> >>
>> >> > Hello,
>
Paolo Prete writes:
> On Thu, Oct 21, 2021 at 1:22 PM David Kastrup wrote:
>
>> Paolo Prete writes:
>>
>> > Hello,
>> >
>> > after a \tempo X = Y is set, is there a way (a scheme function or
>> > variable?) to get X and Y?
>&g
values in beatStructure (if any).
At least that's what Time_signature_performer tries to state.
--
David Kastrup
question and a function \maN
that takes the following markup and concatenates it. That's viciously
unclever but sometimes not having to worry whether the computer gets
everything right is its own reward.
--
David Kastrup
Thomas Morley writes:
> Am Mo., 18. Okt. 2021 um 16:14 Uhr schrieb David Kastrup :
>>
>>
>> Hi,
>>
>> currently entering drum scores for the ensemble I am playing in (getting
>> a note-savvy living drummer for regular practice is comparatively
>> cha
Thomas Morley writes:
> Am Mo., 18. Okt. 2021 um 16:14 Uhr schrieb David Kastrup :
>>
>>
>> Hi,
>>
>> currently entering drum scores for the ensemble I am playing in (getting
>> a note-savvy living drummer for regular practice is comparatively
>> cha
ate scores for MIDI.
Has anybody done anything like that already?
--
David Kastrup
es in parallel content
don't affect the timing and the bar checks in the time track.
--
David Kastrup
oned in the "LilyPond — Extending" guide of LilyPond.
--
David Kastrup
riting \layout { \context { ... } } only for
> \consist'ing and \remove'ing engravers.
One should realise the difference. The latter only addresses specific
contexts, the former covers everything with the respective \alias as
well (including the implicit \alias of Bottom for contexts without a
\defaultchild).
--
David Kastrup
Valentin Petzel writes:
> Sorry, it’s \with { \override Staff.StringNumber.stencil = ##f } ...
No, it isn't.
--
David Kastrup
ingNumber
}
}
> How can I completely disable the output of string numbers for all voices?
> It would be super if there was a way to temporarily turns this back on with
> \override, but even just disabling it would be an improvement...
\once \undo \omit StringNumber
might work for a single string number.
--
David Kastrup
t to right, but ...).
Strictly speaking "in some unspecified order" would suggest that you
could use let in this manner (because any order would work here), but as
far as I understand implementations might actually even do this in
parallel, namely not in some unspecified order but rather not in any
order at all.
--
David Kastrup
o on.
(let ((x 2) (y 3))
(let* ((x 7)
(z (+ x y)))
(* z x))) ==> 70
--
David Kastrup
ther there is a guarantee that
ly:arpeggio::print is happy with the grob being modified after the call
and before the stencil is getting used. Looking at the C++ code, that
appears to be the case. Maybe giving ly:arpeggio::print an optional
overriding direction argument could be cleaner? It doesn't help with
creating user-level code for current LilyPond versions, of course.
--
David Kastrup
cidental
rules are normally established.
There is a Documentation snippet that tweaks one instant of
restore-first (to ##t), strengthening the impression that this is a
user-level property.
So this is somewhat of a mess. Setting Staff.extraNatural should
usually be what you want.
--
David Kastrup
entation being "executed", and source files are interpreted rather
than compiled, with no file-level representation ever being explicit.
That's not an academic difference since it is a non-trivial question
just what the structure of a MusicXML file is supposed to represent from
a given LilyPond input file.
--
David Kastrup
ront required to sort the good from the bad in the idiosyncratic
technique, and then design strategies for ditching or even ameliorating
the bad without sacrificing the good.
--
David Kastrup
ough that I wonder whether our
Lyric_combine_music_iterator should be a more general mechanism not just
available for lyrics.
--
David Kastrup
rs don't? Can someone explain this, and/or
> point me to where in the manual it is explained?
Historically, functions defined in C++ have a prefix of ly: . It's not
really a distinction valuable to the user, and it is no longer
unilaterally the case.
--
David Kastrup
and the assignment is not
"lazy" but executed as soon as it is complete. Recognizing its
completeness may require examining the type of the next token, and the
type of $ depends on its value (which consequently needs to be evaluated
to figure out its type) while the type of # doesn't.
--
David Kastrup
"Omid Mo'menzadeh" writes:
> Of course!I just attached two files that demonstrate the difference.
>
> On Sat, Oct 2, 2021 at 3:30 PM David Kastrup wrote:
>
>> "Omid Mo'menzadeh" writes:
>>
>> > I didn't know about $ at all! Where in the doc
ing #(top-repl) and $(top-repl) too, in the #
> version it knows what \vocal is, but in the $ version it doesn't.
How about a minimal example exhibiting the problem?
--
David Kastrup
Jean Abou Samra writes:
> Le 01/10/2021 à 14:09, David Kastrup a écrit :
>> $*undefined*
>
> I think you mean
>
> $*unspecified*
Right. Sorry.
--
David Kastrup
$*undefined*
so this happens to work as expected anyway.
--
David Kastrup
the
> n-th voice in the normal order?
We couldn't without knowing the total number of voices. Even then, at
least with an odd number of voices, the choice of whether to do the
middle voice stem-up or stem-down may well depend on the material in
question.
--
David Kastrup
arer if we had
\firstVoice and \soleVoice instead of \voiceOne and \oneVoice, respectively.
--
David Kastrup
Gary Brookman writes:
> Thank you Carl.
>
> You made it plenty clear, but I still ignored it.
A much sought after skill for modern political debates. I am glad that
the discussions here lean a bit more towards the old-fashioned.
--
David Kastrup
ailto:lilypond-user-requ...@gnu.org?subject=help>
List-Subscribe: <https://lists.gnu.org/mailman/listinfo/lilypond-user>,
<mailto:lilypond-user-requ...@gnu.org?subject=subscribe>
Does that help you?
--
David Kastrup
Jean Abou Samra writes:
> Le 20/09/2021 à 23:55, David Kastrup a écrit :
>> Jean Abou Samra writes:
>>
>>> Le 20/09/2021 à 23:31, David Kastrup a écrit :
>>>> Jean Abou Samra writes:
>>>>
>>>>> Thoughts? One would have to loo
Jean Abou Samra writes:
> Le 20/09/2021 à 23:31, David Kastrup a écrit :
>> Jean Abou Samra writes:
>>
>>> Thoughts? One would have to look at the most typical use cases
>>> to decide on an interface.
>> Anything wrong with using a ly:transform? t
Jean Abou Samra writes:
> Thoughts? One would have to look at the most typical use cases
> to decide on an interface.
Anything wrong with using a ly:transform? type? It's straightforward to
create and manipulate.
--
David Kastrup
Peter Toye writes:
> Thanks David,
>
>
> Lukas-Fabian got there first!
You'd think so, but I staked my claim years ago:
commit e6895cdbcf30f3683a8c1b1c50dbb1b154ca6bdb
Author: David Kastrup
Date: Mon Aug 3 09:23:40 2015 +0200
Issue 4537/1: Let \addlyrics accept an optional
So -- lo so -- lo so -- lo so -- lo
}
}
>>
g f e d |
}
}
\new Lyrics \lyricsto "TuttiVoice" {
Tut -- ti tut -- ti tut -- ti tut -- ti
Tut -- ti tut -- ti tut -- ti tut -- ti
}
>>
}
}
--
David Kastrup
s no effect. What am I doing
> wrong please?
Dynamic_engraver works at Voice level. Quashing the Dynamics from
partCombine will be sort of a chore since partCombine creates a lot of
little contexts.
--
David Kastrup
.
A suitable robots.txt file should be able to keep web crawlers away from
older versions.
--
David Kastrup
for \=
commit cf4323bf84b6880082f8e8bafcac87a282a0da7e
Author: David Kastrup
Date: Sat Oct 3 07:58:57 2015 +0200
Issue 4626/1: Create \= command for setting spanner-id
but the underlying feature is from 2.15.5:
commit 32776795a1be5c0ec472f59694510705607673b0
Author: Reinhold Kainhofer
Da
rs, for example by
preceding them with \=1 and \=2, respectively.
--
David Kastrup
\override Stem.X-offset =
#ly:self-alignment-interface::aligned-on-x-parent }
{
c' e' g' c''
}
--
David Kastrup
the end of some passage (namely when there is nothing else coming up
that one could attach a post-event to), problems of those kinds are
actually not all that unlikely.
--
David Kastrup
saver.
> Enjoy
Not to mention:
Compose # # → ♯
Compose # b → ♭
Compose # f → ♮
Unfortunately I don't see combinations for double accidentals or a lot
of other musical symbols on my computer. But those already help a lot.
--
David Kastrup
ber) are meant to be played on the beat, while
> unslashed grace notes are placed before the beat (with the main note
> landing on the beat).
That would make you exactly opposite to convention.
> I know many conductors — especially choral conductors — who interpret
> the slash similarly.
Interesting.
--
David Kastrup
ion to this issue.
It may be worth noting that somewhat counterintuitively running ps2pdf
on a PDF file tends to work fine, producing a PDF file again in a single
step without an intermediate ps file.
--
David Kastrup
to ignore collisions?
> But you can make it easier to do:
>
> %%%
> \version "2.22.1"
>
> ignoreCollision =
> #(define-music-function (bool) (boolean?)
> #{
> \override NoteColumn.ignore-collision = #bool
>#})
Well, that's just
ignoreCollision = \override NoteColumn.ignore-collision = \etc
(admittedly the explicit function has better typechecking).
But when there is no expectation of actually using a variable expression
here ever, it might make more sense to define two separate commands
\ignoreCollision and \avoidCollision .
--
David Kastrup
l shows
exactly one such use that may be common in a partitura, namely different
_simultaneous_ instruments in a Staff), but doing it just to avoid
setting midiInstrument at Staff level is rather strange and will have
additional effects not all of which may be desirable.
--
David Kastrup
Guy Stalnaker writes:
>> On Sat, Sep 4, 2021, 3:51 PM David Kastrup wrote:
>>
>>> Guy Stalnaker writes:
>>>
>>> > See
>>> >
>>> http://lilypond.org/doc/v2.19/Documentation/notation/midi-channel-mapping
>>&
ore {
\new Staff \with { midiInstrument = "violin" }
{ c'' c'' c'' c''
\set Staff.midiInstrument = "pizzicato strings"
c'' c'' c'' c''
\set Staff.midiInstrument = "violin"
c'' c'' c'' c''
}
\midi {}
}
Works fine without moving the Staff_performer.
--
David Kastrup
`((moveto 0 0) (lineto -30 ,(* 2 25)) (lineto -20 80)
(closepath))
Numeric constants like 0 and -30 are self-quoting, so putting , before
them does not make a difference.
--
David Kastrup
Staff.xxx
specification in an override. But while it can serve as a Staff in that
respect (but not for hosting a Voice context, for example), it is still
entirely separate.
--
David Kastrup
di programs I know about are altogether too
> user-friendly for that kind of detail.
lilymidi --pretty
--
David Kastrup
ot; way to
write them. That makes it somewhat easier to arrive at working
transformations.
--
David Kastrup
Kees van den Doel writes:
[Issue 34]
> A 14 year old bug must be some sort of record.
It must be quite more than 14 years I think.
--
David Kastrup
bass
| 8 []
| 8 []
}
\new PianoStaff <<
\new Staff \rightHand
\new Staff \leftHand
>>
\new PianoStaff <<
\new Staff { \accidentalStyle piano \rightHand }
\new Staff \leftHand
>>
\new PianoStaff <<
\new Staff { \accidentalStyle dodecaphonic \rightHand }
\new Staff \leftHand
>>
%%%
--
David Kastrup
to use in
anything but the definitions of more complex voice-changing commands
that also cater for notehead collision strategies and other stuff.
It was probably a mistake to make those explicit commands rather than
requiring them to be entered as overrides.
--
David Kastrup
at such
expressions may be evaluated earlier than expected by the user.
So generally # causes fewer syntactic surprises but is less flexible.
Also it does not copy music expressions but takes them as-is. That can
cause a difference in some cases.
--
David Kastrup
18.0 complains about (A) and (B) and refuses to execute the
> assignments.
>
> And of course, using a correct definition (using 'translation-type?),
> nothing changes between 2.12.3 and 2.22.0.
That would be roughly in line with my overall expectations.
--
David Kastrup
care that much:
> 'translation-type it is then, for what should be a \set'table context
> property.
I repeat:
>> the change flagging the preexisting problem may possibly be
>>
>> commit e44bc2cc48f9fb714603bdb5f8db532d55374087
>> Author: Neil Puttock
>> Date: Thu Apr 30 20:29:09 2009 +0100
>>
>> Add type-checking to \tweak.
>>
>> in version 2.13.1
--
David Kastrup
mensural_ligature_queue = ...
That is a horrible mistake mixing up grob properties and content
properties. This kind of mixup could lead to violent crashes and absurd
behavior when grob properties were still implemented as alists up until
commit e328b7a10ec1a4e13ba11104825bf54e027
the \layout block, I've tried \with { \compressEmptyMeasures},
> but nothing seems to work.
Doesn't
\layout { \compressEmptyMeasures }
work?
--
David Kastrup
David Kastrup writes:
> Knute Snortum writes:
>
>> I've run into what I think is a bug (and I couldn't find it in gitlab
>> Issues). If an acciaccatura or appoggiatura is the first note in a
>> piece, a \slurUp is not honored (it stays a down slur). Subsequent
\appoggiatura { \slurUp d8 } c4 \appoggiatura { \slurUp d8 } c4
> }
> %%%
>
> Is there a work-around?
Start your contexts explicitly with \new Voice { ... }.
--
David Kastrup
ink this is not related to LilyPond, likely at best marginally
related to Frescobaldi, and most likely related to your system and
possibly its security settings or its affliction by malware.
--
David Kastrup
there are exceptions like 3/1
meter where using a semibreve rest would be too confusing).
> Sorry for the noise.
Happens.
--
David Kastrup
Kees van den Doel writes:
> Is there a way to translate a ly file from italian to english?
>
> I want to edit a score but instead of do re mi names want english names for
> the note names.
I think the LilyPond GUI Frescobaldi has this sort of thing in its menus.
--
David Kastrup
s, and so on.
>
> Is there a better and cleaner way to approach this problem?
Well, disregarding "cleaner"...
untransposed-music-functions = #toplevel-music-functions
toplevel-music-functions =
#(cons #{ \transpose c a \etc #} untransposed-music-functions)
\score { { \key c \major c'4 e' g' c'' | c'1 } }
--
David Kastrup
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