Re: [basic question] how to disable text spanners for the lower staff of a PianoStaff

[James Harkins]

 On Fri, 10 May 2024 15:07:33 +0800  Mark Knoop  wrote --- 
> Haven't tested, but I think Text_spanner_engraver lives in Voice, rather than 
> Staff. Try removing from the \global Voice, otherwise send a WME.

Ah... indeed. That does take care of it.

  \new PianoStaff \with {
instrumentName = "古筝"
shortInstrumentName = "古筝"
  } <<
\new Staff = "up" << \global \zhengR >>
\new Staff = "down" % \with { \remove Text_spanner_engraver }
<<
  \clef bass
  \new Voice \with { \remove Text_spanner_engraver } { \global }
  \zhengL
>>
  >>

Kieren's solution also works, with a bit less syntax.

Thanks to both!

hjh

[basic question] how to disable text spanners for the lower staff of a PianoStaff

[James Harkins]

I've got a piano staff (for guzheng, just notating on two staves), and an 
"accel." text spanner in a \global var.

The accel is printed in both staves of the piano staff.

I'd thought this would hide it from the lower staff:

  \new PianoStaff \with {
instrumentName = "古筝"
shortInstrumentName = "古筝"
  } <<
\new Staff = "up" << \global \zhengR >>
\new Staff = "down" \with { \remove Text_spanner_engraver }
<< \clef bass \global \zhengL >>
  >>

But it still appears.

Some magic incantation I'm missing... can anyone advise? Thanks.

hjh

Re: Question about condensed score

[james]

Perhaps I'm mistaken, and if so, I'm certain will correct me, but I believe 
lilypond isn't able to do this. You would need three staves, one each for the 
individual parts and on common one for both, manually assign music to the 
appropriate staves, and insert breaks where necessary.

> On Aug 14, 2023, at 4:18 PM, Rip _Mus  wrote:
> 
> Thank you Knute,
> I already know how to hide empty staves.
> The point is to condense only during the rests, changing the name of the 
> staves.  When they are separated each staff should have its own name ("fl. 1" 
> - "fl. 2"), while when they are condensed they should show a unique name 
> ("fl. 1-2"), perhaps next to the bracket of the staffGroup .
> 
> I just don't know yet if it's feasible and how.
> 
> Il lun 14 ago 2023, 15:07 Knute Snortum  > ha scritto:
>> This part of the documentation will probably help you:
>> 
>> https://lilypond.org/doc/v2.25/Documentation/notation/hiding-staves
>> 
>> --
>> Knute Snortum
>> 
>> 
>> 
>> On Sun, Aug 13, 2023 at 11:44 PM Rip _Mus > > wrote:
>>> Good morning everyone!
>>> I would like to ask if you know a strategy to achieve the following result.
>>> 
>>> I'm working on an orchestral score. I'd like the two flute staves to be 
>>> shown separate when they play, while condensed when both are silent 
>>> (perhaps with a staff name showing the indication "fl. 1-2").
>>> 
>>> Could you help me get this result?
>>> 
>>> Thank you
>>> 
>>> Rip_mus

Re: optical recognition for input

[James B. Wilkinson]

> On Jan 17, 2022, at 5:04 PM, Adam M. Griggs  wrote:
> 
> I haven't tried building from development branch, but from experience, the 
> stable branch only works with JRE 11, not "11 or greater."

Yes, I did use the default stable branch.

> I use MX Linux and JRE 11 is readily available. Not sure about other 
> operating systems.


Yes, I was using 12 because that seemed to be the one Oracle's website wanted 
to send me. I'll back up to 11.

I did look in the expanded src tree and found a blue million *.java files. I 
assume that the build process needs to compile all of them. Won't I need the 
JDK for that and not just the JRE? I'm not sure; been a while since I did any 
Java.


thanks, I'll have a go

Re: optical recognition for input

[James B. Wilkinson]

> On Jan 15, 2022, at 4:56 AM, Adam M. Griggs  wrote:
> 
> Try Audiveris.

I downloaded the stuff from git but had failure at the build step. I looked for 
a mail group like this one for Audiveris but didn't find anything. Can somebody 
point me to a source of help building Audiveris?

thanks

optical recognition for input

[James B. Wilkinson]

I'm looking at getting an OCR program to recognize scans in pdf files and 
create MusicXML files representing the contents. I would then use the 
musicxml2ly or perhaps some other script to translate the MusicXML to Lilypond 
files, I imagine that some of you are already doing this, and I wonder whether 
you could give me or point me to some tips as to what software to use and how 
to go about it.

Using MIDI files as the intermediate representation may also be a possibility. 
I'd appreciate hearing about that, too.


thanks

Re: Lilypond's English Horn MIDI instrument is non-transposing?

[James B. Wilkinson]

> On Jan 14, 2022, at 6:37 PM, Valentin Petzel  wrote:
> 
> ...
> Lilypond uses these GM names, which makes Lilypond a somewhat GM compatible 
> source. This means that as long as we use a GM compatible synth everything 
> should have the right sound.


I was using VLC to play it. Does this mean that VLC is not GM compatible? I was 
having to compile it with the tenor voice not transposed in order to get the 
MIDI file to play the correct notes. I had to compile again with the tenor 
voice transposed to get the notes to print correctly on the page.

David pointed me to the \transposition keyword, and adding "\transposition f" 
to the "\with" clause of the English horn staff fixed the problem. Now I get 
correct printed output and a correct MICI file from a single compilation. But 
now I have another question making two questions in this post:
1) why do I need  "\transpose f c \tenor" instead of "\transpose f c' \tenor"? 
If I use c' it goes an octave too high.
2) Is VLC GM compatible.

In case it helps you to know this, the project started as notes typed in from a 
SATB printed page, i.e. all in C. Changing to double-reed instruments including 
English horn is the reason for the need to transpose the tenor part; I didn't 
retype those notes in the correct key.


thanks again guys

\score
{
  \new StaffGroup
   <<
 \new Staff = "oboe1" \with { instrumentName = "oboe1" midiInstrument = 
"oboe" }
   { \clef "treble" \soprano }
 \new Staff = "oboe2" \with { instrumentName = "oboe2" midiInstrument = 
"oboe" }
   { \clef "treble" \alto }

 \new Staff = "EngHrn" \with { instrumentName = "enghrn" midiInstrument = 
"english horn" \transposition f }
 % get the MIDI in the correct key; pitch is 
absolute here: written c' sounds as f
   { \clef "treble" \transpose f c \tenor }   % and get the score in 
the correct key (why c and not c'?)

 \new Staff = "bassoon" \with { instrumentName = "bassoon" midiInstrument = 
"bassoon" }
   { \clef "bass" \bass }
   >>
  \layout { \context { \Staff \consists "Ambitus_engraver" } }  
  \midi {  \tempo 4 = 80   }
}

Lilypond's English Horn MIDI instrument is non-transposing?

[James B. Wilkinson]

I'm working on an arrangement fordable-reed quartet. Here's the score block:

\score
{
  \new StaffGroup
   <<
 \new Staff = "oboe1" \with { instrumentName = "oboe1" midiInstrument = 
"oboe" }
   { \clef "treble" \soprano }
 \new Staff = "oboe2" \with { instrumentName = "oboe2" midiInstrument = 
"oboe" }
   { \clef "treble" \alto }
 \new Staff = "EngHrn" \with { instrumentName = "enghrn" midiInstrument = 
"english horn" }   %"english horn"
   { \clef "treble" \transpose f c \tenor }   %the correct 
transposition for EH sounds terrible
%   { \clef "treble" \transpose c c, \tenor }  % temporarily down one 
octave; sounds fine
 \new Staff = "bassoon" \with { instrumentName = "bassoon" midiInstrument = 
"bassoon" }
   { \clef "bass" \bass }
   >>
  \layout { \context { \Staff \consists "Ambitus_engraver" } }  
  \midi {  \tempo 4 = 80   }
}


If I make it with the English horn part correctly transposed, the MIDI sounds 
terrible. If I make it with the English horn part untransposed, it sounds fine. 
My conclusion is that the midiInstrument "english horn" reads its part in C 
rather than in F. Shouldn't it play the notes that a real English horn would?


thanks

Scheme doesn't check for missspeeled variable names???

[James B. Wilkinson]

I fat-fingered the keyboard on my laptop and got this:

flute-notes = {
  \override BreathingSigh.Y-offset = #2.6  %% also tried 
#5.0 and some really big numbers; no effect
  7 bars of music in 4/4
}


AND I never got an error message. This seems to mean that Scheme has no checks 
for valid identifiers. I’m reminded of a program we had back in the early 
1970’s; it printed an alphabetized list of all the identifiers in a BASIC 
program. If you’d misspelled something it jumped right out at you. Something 
like that would have saved me about two hours tonight.

sigh (as it were)

Re: errors when updating syntax

[James B . Wilkinson]

lily

> On Jan 29, 2021, at 12:37 PM, Jean Abou Samra  wrote:
> 
>> I got a .ly file claiming to be version 2.18.0 and opened it in LP version 
>> 2.22.0-1. When I did “Update syntax” I got these errors, and the version in 
>> the file did not change.
>> 
>> 
>> [Image showing AttributeError: 'file' object has no attribute 'detach'
>> I can typeset the file with no problems.
>> 
>> 
>> I thought you should know.
> 
> 
> Hello,
> 
> This is a serious problem. The error indicates that
> Python 2 is being used. The scripts were ported to
> Python 3 in release 2.22. What is your OS? How are
> you running convert-ly? Does it reproduce in a terminal?
> (Try running 'convert-ly myfile.ly' there.)
> 
> Eventually this should be made a bug report to the
> bug-lilypond list (see lilypond.org/contact.html).

MacBook Pro Mavericks. I picked "Update Syntax" from the Lilypond Compile menu. 
I added a line of code in the offending file asking it to print the Python 
version. It’s 2.6.6 and was created by Apple.

Just now I ran this:

/Applications/LilyPond.app/Contents/Resources/bin/convert-ly chloris.ly and 
redirected the output into a file. Worked like a champ, and changed the version 
in the file to 2.22. Opened that file in lily pond and compiled it; also worked 
like a champ.

So I tried putting the python3 shebang line at the beginning of convert-ly.py 
but discovered that it’s already there. Then I tried putting it in the file 
lilylib.py that actually threw the error. It wasn’t already there, but adding 
it did not fix anything. Somehow the decision to use the Apple 2.6.6 has been 
made before it starts to read convert-ly.py, and nothing is going to change its 
mind about that.

I’ll go send this to the bug list right now.



As a slightly related aside, can somebody point me to an explanation of the 
line of code that is cited in the error message?

sys.stdin = codecs.getreader('utf8')(sys.stdin.detach())

My Python skills don’t reach far far enough to grok that syntax.  thanks

errors when updating syntax

[James B. Wilkinson]

I got a .ly file claiming to be version 2.18.0 and opened it in LP version 
2.22.0-1. When I did “Update syntax” I got these errors, and the version in the 
file did not change.




I can typeset the file with no problems.


I thought you should know.

Re: Accidentals' font

[James Lowe]

On 03/07/2020 13:48, Paolo Prete wrote:

Hello,

1) Is there a GPL or open-source alternative for FETA fonts for accidentals
that can be used with Lilypond? (If so, is there an example of how to use
them)?


https://www.chiark.greenend.org.uk/~sgtatham/gonville/


?

James

Re: Text spanner with middle text

[James Worlton]

Thanks Valentin! I think this will be able to do what I need.

James

> On May 30, 2020, at 23:23, Valentin Villenave  wrote:
> 
> On 5/31/20, James Worlton  wrote:
>> Is there a way to do this using a single text spanner? I could probably
>> fake it with 2 spanners, but would rather not if I didn't have to, since
>> the positioning of the middle text would be trial and error.
> 
> Indeed.  But I think that if you’re looking for something simple, that
> remains the easiest way by far:
> 
> 
> 
> \version "2.20.0"
> 
> insertTextSpan =
> #(define-music-function (txt) (markup?)
>   (make-music 'CrescendoEvent
>   ; 'tweaks (list (cons 'font-shape 'upright))
>   'span-direction START
>   'span-type 'text
>   'span-text txt))
> 
> {
>  b1\insertTextSpan "poco"
>  b
>  b\insertTextSpan "a"
>  b
>  b\insertTextSpan \markup \bold "poco"
>  b
>  b\!
> }
> 
> 
> 
> Cheers,
> -- V.

Text spanner with middle text

[James Worlton]

Hello,

I'm trying to create a text/dynamics spanner to produce something similar
to the following:

dim. - - - - al - - - - pp

I've checked the LSR, and the email archives and couldn't find a solution.
David Nalesnik's function from here
https://lists.gnu.org/archive/html/lilypond-user/2017-10/msg00461.html
comes closest, but still is beyond my ability to tweak to the point that it
does what I need.

Is there a way to do this using a single text spanner? I could probably
fake it with 2 spanners, but would rather not if I didn't have to, since
the positioning of the middle text would be trial and error.

Thanks,
James Worlton

alternate bar numbering

[james via lilypond-user]

I haven't seen this documented, or if I have, I've forgotten where, but is it 
possible to manually set an alternate bar number, i.e., with a letter? 
\set Score.alternativeNumberingStyle = #'numbers-with-letters
\set Score.currentBarNumber = #10a
doesn't work, and I didn't see anything that explained if it's possible or if 
so, what syntax I should use.

Thanks for any help,

James
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Chord accidental size in substituted fonts

[James Worlton]

Hello,

I'm writing a big band chart and having difficulty getting the main 
chords involving accidentals--B-flat, C-sharp, etc.--to look good with 
the lilyjazz font.


MWEs:
%OK size with defaults
\version "2.19.83"

\score {
  \new ChordNames {
bes1
  }
}

%NOT OK size using lilyjazz
\version "2.19.83"
\paper {
  #(define fonts
 (set-global-fonts
  #:music "lilyjazz"
  #:factor (/ staff-height pt 20)
  ))
}
\score {
  \new ChordNames {
bes1
  }
}

I can't find an override for the accidental size here after looking for 
the last couple of hours. Is there a way to reduce and/or move the flat 
in the second example?


Thanks,
James Worlton

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Re: I don't understand this output

[james via lilypond-user]

Thanks. Unfortunately, my mail client uses > to delineate threading in 
conversations, so even if I copy/paste code that compiles, my client mangles it.

And somehow, I knew this was the solution, because it was in the manual for 
like 2.10, but I haven't used this construction in so long, I'd forgotten it. 
Thanks for the reminder.

James

> On Jul 20, 2019, at 10:22 AM, Thomas Morley  wrote:
> 
> Am Sa., 20. Juli 2019 um 08:29 Uhr schrieb james via lilypond-user
> :
>> 
>> Hello, I don't understand why this results in the output it does.
>> I wanted to have the second voice instantiated in the beginning because it 
>> is used later and I would like to have the lyrics align vertically.
>> Alternatively, I thought to use \addlyrics after each little section of 
>> lyrics, but the polyphony is skewed after that.
>> Is the only possibility to use spacer rests?
>> 
>> \version "2.18.2"
>> 
>> \score {
>>   <<
>>  \new Staff <<
>> \new Voice = "testII" { s1*2 }
>> \new Voice = "testI" \relative c'' {
>>   c4 b <<{\voiceOne d8 b } \context Voice = "testII" {\voiceTwo 
>> a4} \context Lyrics = "testIIText" \lyricsto "testII" \lyricmode { di } >> 
>> \oneVoice>
> 
> The ">" at \oneVoice> above prevents the example from compiling with
> every ly-version.
> Please check before posting ;)
> 
>>   f4 e d c
>> }
>>>> 
>>  \new Lyrics \lyricsto "testI" \lyricmode { du du da da du dum dum dum 
>> dum }
>>>> 
>>   \layout {}
>> }
>> 
>> \score {
>>   <<
>>  \new Staff {
>> \new Voice = "testI" \relative c'' {
>>c4 b <<{\voiceOne d8 b } \new Voice = "testII" {\voiceTwo a4} 
>> \new Lyrics = "testIIText" \lyricsto "testII" \lyricmode { di } >> \oneVoice 
>> g4
>>f4 e d c
>> }
>>  }
>>  \new Lyrics \lyricsto "testI" \lyricmode { du du da da du dum dum dum 
>> dum }
>>>> 
>>   \layout {}
>> }
>> 
>> \score {
>>   <<
>>  \new Staff <<
>> \new Voice = "testI" \relative c'' {
>>c4 b \voiceOne d8 b \oneVoice g4
>>f4 e \voiceOne a8 g \oneVoice c,4
>> }
>> \new Voice = "testII" \relative c'' {
>>\voiceTwo
>>s2 a4 s4
>>s2 d,4 s4
>> }
>>>> 
>>  \new Lyrics \lyricsto "testI" \lyricmode { du du da da du dum dum dum 
>> dum }
>>  \new Lyrics \lyricsto "testII" \lyricmode { di dee }
>>>> 
>>   \layout {}
>> }
> 
> 
> Anyway, I can't explain the (buggy) 2.18.2-behaviour.
> Though, more recent versions compile correctly (after removing the ">"
> and running convert-ly)
> 
> Thus I'd recommend to use 2.19.83 (the most recent one)
> If you need to stay with 2.18.2 I've found below working:
> 
> \version "2.18.2"
> 
> \score {
>   <<
>  \new Staff <<
> \new Voice = "testII" { \voiceTwo s1*2 }
> \new Voice = "testI"
>   \relative c'' {
>   c4 b
>   <<
>  { \voiceOne d8 b }
>  \context Voice = "testII" { a4 }
>>> 
>   \oneVoice
>   g
>   |
>   f4 e
>   <<
>  { \voiceOne a8 g }
>  \context Voice = "testII" { d4 }
>>> 
>   c4
>   |
> }
>>> 
>  \new Lyrics \lyricsto "testI" \lyricmode { du du da da du dum
> dum dum dum }
>  \context Lyrics = "testIIText" \lyricsto "testII" \lyricmode { di dee }
>>> 
>   \layout {}
> }
> 
> 
> Cheers,
>  Harm


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I don't understand this output

[james via lilypond-user]

Hello, I don't understand why this results in the output it does.
I wanted to have the second voice instantiated in the beginning because it is 
used later and I would like to have the lyrics align vertically.
Alternatively, I thought to use \addlyrics after each little section of lyrics, 
but the polyphony is skewed after that.
Is the only possibility to use spacer rests?

\version "2.18.2"

\score {
   <<
  \new Staff <<
 \new Voice = "testII" { s1*2 }
 \new Voice = "testI" \relative c'' {
   c4 b <<{\voiceOne d8 b } \context Voice = "testII" {\voiceTwo 
a4} \context Lyrics = "testIIText" \lyricsto "testII" \lyricmode { di } >> 
\oneVoice>
   f4 e d c
 }
  >>
  \new Lyrics \lyricsto "testI" \lyricmode { du du da da du dum dum dum dum 
}
   >>
   \layout {}
}

\score {
   <<
  \new Staff {
 \new Voice = "testI" \relative c'' {
c4 b <<{\voiceOne d8 b } \new Voice = "testII" {\voiceTwo a4} \new 
Lyrics = "testIIText" \lyricsto "testII" \lyricmode { di } >> \oneVoice g4
f4 e d c
 }
  }
  \new Lyrics \lyricsto "testI" \lyricmode { du du da da du dum dum dum dum 
}
   >>
   \layout {}
}

\score {
   <<
  \new Staff <<
 \new Voice = "testI" \relative c'' {
c4 b \voiceOne d8 b \oneVoice g4
f4 e \voiceOne a8 g \oneVoice c,4
 }
 \new Voice = "testII" \relative c'' {
\voiceTwo
s2 a4 s4
s2 d,4 s4
 }
  >>
  \new Lyrics \lyricsto "testI" \lyricmode { du du da da du dum dum dum dum 
}
  \new Lyrics \lyricsto "testII" \lyricmode { di dee }
   >>
   \layout {}
}



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Re: Can alternateTextSpannerEngraver now completely replace Text_spanner_engraver in a public release?

[James Lowe]

Hello Trevor,

On Tue, 12 Feb 2019 16:45:35 -0600, Trevor Bača  wrote:


> 
> Question: is it now possible to replace Text_spanner_engraver with David
> N.'s extended implementation, in a coming public release of LilyPond?
> 
> 
> Trevor.
> 


If you have a patch based on current master I can at least test that for you.]

James



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Re: Suppressing TextSpanner right boundary text at a system break

[James Harkins]

 On Thu, 20 Sep 2018 01:17:57 +0800  wrote 
 
> From: foxfanfare
>  
> James Harkins-4 wrote 
> > I have many text spanners with text for both the left and right bounds. 
> >  
> > If a spanner crosses a system break, I would like the right-hand text to 
> > be hidden at the end of the first system. 
>  
> I think you'll have to play with "right-broken" and "left-broken". 
>   \override TextSpanner.bound-details.right-broken.text = ##f 

That's exactly it. Thanks!

Would be useful as a snippet perhaps... this totally eluded me in the manual. I 
tried to find info about bound-details but missed it somehow.

hjh


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Suppressing TextSpanner right boundary text at a system break

[James Harkins]

Apologies if this is a basic question. I've searched but I didn't find the 
answer.

I have many text spanners with text for both the left and right bounds.

If a spanner crosses a system break, I would like the right-hand text to be 
hidden at the end of the first system.

The spanner represents an instruction for computer ensemble performance: at the 
left bound, begin transitioning to the next state; at the right bound, you 
should have arrived but not before.

Currently I'm getting "arrive" printed to the right of the last bar line of the 
system break. The performers should not arrive at this point! The score is 
misleading if it suggests that performers should have arrived at the end of the 
system.

I searched the manual and didn't find it. An LSR search for "spanner" finds a 
technique that is supposed to hide the spanner /line/ after a break (not what I 
want). I haven't found anything about controlling boundary text visibility.

Thanks,
hjh



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Re: Partcombine Documentation: Example Error

[James Lowe]

Hello,

On Thu, 19 Jul 2018 08:44:56 +0200, Thomas Morley  
wrote:



...


> 
> Hi James,
> 
> I've no clue why it happens, so I'd go for the symptom. Something like
> "partcombine warns erroneously for unterminated slur".
> 
> Cheers,
>   Harm


Many thanks

https://sourceforge.net/p/testlilyissues/issues/5389/

James
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Re: Partcombine Documentation: Example Error

[James Lowe]

Hello,

On Wed, 18 Jul 2018 09:09:15 +0200, Thomas Morley  
wrote:

> 2018-07-17 11:55 GMT+02:00 Ben :
> > Good morning,
> >
> > I've been reading up on partcombine recently and I wanted to try out a few
> > examples from the documentation to help me really understand the command,
> > however I get this error with one example:
> >
> > From:
> >
> > http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#automatic-part-combining
> >
> > Error:
> >
> > warning: unterminated slur r2 g'4( f8 e) |
> >
> > ---
> >
> > I have not modified the code at all, just copy and paste.
> >
> > I thought it was due to some voice-issue but I can't figure out how to fix.
> > Thanks for any help.
> >
> >
> > Code:
> >
> > musicUp = \relative c'' {
> >   \time 4/4
> >   a4 c4.( g8) a4 |
> >   g4 e' g,( a8 b) |
> >   c b a2.
> > } % begin verbatim
> >
...

> 
> As Torsten already stated, it's a bug.
> 
> First bad commit:
> 
> commit b357d2084d1ae252a890e92019e62aa8ccbfdafc
> Author: Dan Eble 
> Date:   Wed May 27 20:56:37 2015 -0400
> 
> Issue 4423: eliminate part combiner's array of context handles (3/4)
> 
> Use NullVoice instead of Devnull for the "null" context.  This makes
> all outlets a kind of Voice.
> 
> 
> Introduced in 2.19.22
> 
> cc-ing Dan and the bug-list
> 
> Cheers,
>   Harm

Can you give me a technically-meaningful title for the tracker?

I cannot think of anything.

James
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Re: question about cross-staff stems

[james]

> On Jul 4, 2018, at 5:43 PM, foxfanfare  wrote:
> 
> James Bailey-5 wrote
>> Is it possible to get cross-staff stems to ignore a voice? I'd like to
>> have the lowest voice here completely ignored for the cross-staff stems,
>> alternatively, have the cross staff stems connected to the upper voice. As
>> it is, the only way I can the stems to behave the way I want is to flip
>> the direction of the stems on the lowest, which, given the ties and the
>> spacing is not an ideal situation.
> 
> Hi James,
> 
> I'm not sure to understand what you are trying to achieve here. But I'd
> personally would write your exemple like this:
> 
> \include "deutsch.ly"
> \version "2.19.65"
> 
> \score {
>\new PianoStaff <<
>\new Staff = "RH" \relative c'' {
>\voiceOne 4~ q8 q~ q4~ q8 q
>}
>\new Staff = "LH" \relative c' {
>\clef bass
><<
>\new Voice = "crossing" { \repeat unfold 2 { 
>  \once \override Beam.positions = #'(2 . 2)
>  \change Staff = "LH" \voiceThree c,8
> \change Staff = "RH" \voiceTwo 8   } }
>\new Voice = "ties" { \voiceFour \repeat
> unfold 2 { \stemDown c,4~ c8 r } }
>>> \oneVoice
>}
>>> 
>\layout { \context { \PianoStaff \consists #Span_stem_engraver } }
> }
> 
> Hope this could help.
> 
> 
> 
> 
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
> 
> ___
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Thank you,

What I'm looking for is something like this:
\include "deutsch.ly"
\version "2.19.65"

\score {
\new PianoStaff <<
\new Staff = "RH" \relative c'' { \voiceOne 4~ q8 q~ q4~ 
q8 q }
\new Staff = "LH" \relative c' {
\clef bass
<<
\new Voice = "crossing" { \autoBeamOff 
\crossStaff \repeat unfold 2 { \change Staff = "RH" \voiceTwo s8 8  
 } }
\new Voice = "notCrossing" { \autoBeamOff 
\change Staff = "LH" \voiceTwo \repeat unfold 2 { c,8[ g'] g[ g] } }
\new Voice = "ties" { \voiceFour \repeat unfold 
2 { \stemUp c,4~ \once \override NoteColumn.force-hshift = #-2.0 c8 r } }
>> \oneVoice
}
>>
\layout { \context { \PianoStaff \consists #Span_stem_engraver } }
}

But that's a lot of manual adjustment and essentially the entire piece has this 
contour.

Thanks,

James
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question about cross-staff stems

[james]

Is it possible to get cross-staff stems to ignore a voice? I'd like to have the 
lowest voice here completely ignored for the cross-staff stems, alternatively, 
have the cross staff stems connected to the upper voice. As it is, the only way 
I can the stems to behave the way I want is to flip the direction of the stems 
on the lowest, which, given the ties and the spacing is not an ideal situation.

\include "deutsch.ly"
\version "2.19.65"

\score {
\new PianoStaff <<
\new Staff = "RH" \relative c'' {
\voiceOne 4~ q8 q~ q4~ q8 q
}
\new Staff = "LH" \relative c' {
\clef bass
<<
\new Voice = "crossing" { \autoBeamOff 
\crossStaff \repeat unfold 2 { \change Staff = "RH" \voiceTwo s8 8  
 } }
\new Voice = "notCrossing" { \autoBeamOff 
\change Staff = "LH" \voiceTwo \repeat unfold 2 { c,8[ g'] g[ g] } }
\new Voice = "ties" { \voiceFour \repeat unfold 
2 { \stemDown c,4~ c8 r } }
>> \oneVoice
    }
>>
\layout { \context { \PianoStaff \consists #Span_stem_engraver } }
}

Thanks,

James
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Download site is offline

[James A.]

http://download.linuxaudio.org/ appears to be down since yesterday.

I am trying to download the latest dev binaries of LilyPond.
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Re: TextSpanner: Change text at automatic line break?

[James Harkins]

On May 22, 2018 10:51:12 Kieren MacMillan <kieren_macmil...@sympatico.ca> 
wrote:


You should look at David N's incredible spanner-with-inner-texts (or 
similarly named) — I'm pretty sure it’ll do all that (and more).


Aha -- that just might be the droid I'm looking for. Will search.

Thanks!
James

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Re: TextSpanner: Change text at automatic line break?

[James Harkins]

 On Mon, 21 May 2018 19:12:56 +0800 Thomas Morley 
<thomasmorle...@gmail.com> wrote  
>   \relative c' {
> \override TextSpanner.bound-details.left.text = "abc"
> \override TextSpanner.bound-details.left-broken.text = "foo"
> c1 \startTextSpan
> \repeat unfold 20 { c1 }
> c1\stopTextSpan
>   }
>  
> works here. A typo somewhere? 

Oh, OK, I see -- I have to set the left-broken details before starting the text 
spanner, and those details can't change.

It's possible that I might have a spanner covering three or more systems, where 
the text might need to change twice (or more). So I was setting the left-broken 
details in the middle, hoping it would take effect at the next system break. 
But I guess the object is already created and its properties already 
determined, and there's no going back to modify the current instance (not 
without Scheme anyway, for which I don't have time, and it doesn't matter if I 
notate it this way or another way).

OK, I'll consider another strategy.

Thanks,
James


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TextSpanner: Change text at automatic line break?

[James Harkins]

Hi,

Using a TextSpanner, is there a way to change the text in the middle, so that 
the new text appears at the next system break (whichever bar that is)?

\version "2.19.80"
\language "english"

\relative c' {
  \override TextSpanner.bound-details.left.text = "abc"
  c1 \startTextSpan
  \repeat unfold 20 { c1 }
  c1\stopTextSpan
}

With default settings, LP engraves 11 bars on the first line, putting bar 12 on 
the next. I know I could stop the spanner at the end of bar 11 and start a new 
one on bar 12, but future changes might move the line breaks, so I would rather 
not have to hardcode. I would like to set some property in the middle of the 
spanner and have it take effect at the next automatic system break.

I tried overriding TextSpanner.bound-details.left.text -- no difference on the 
second line.

Same for TextSpanner.bound-details.left-broken.text -- if "left-broken" has a 
text property, it's ignored for rendering.

If it's too hard, I can change the notation style. (It's a score for computer 
ensemble. The text indicates which patch and which variant to play. The variant 
might change in the middle. I'd like the text to change accordingly. If it 
isn't possible, I'll use the spanner only for the patch name, and put the 
variant underneath.)

Thanks,
James


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Re: SVG output - Group multiple grobs together

[James Opstad]

Thanks. I will work through the example. It seems it isn't possible to embed 
more than one item within a group and one group per grob is the only approach 
for the time being. If this is the case then why use groups rather than adding 
the attributes to the grob itself?


James




From: David Nalesnik <david.nales...@gmail.com>
Sent: 10 January 2018 15:21
To: James Opstad
Cc: lilypond-user@gnu.org
Subject: Re: SVG output - Group multiple grobs together

Hi James,

On Wed, Jan 10, 2018 at 5:51 AM, James Opstad <jamesops...@hotmail.com> wrote:
> Hello,
>
>
> I have been experimenting with the new output-attributes grob property for
> SVG output. For example, the following code creates a group with id="noteC"
> around the C notehead.
>
>
> \version "2.19.80"
> \pointAndClickOff
> \relative c' {
>   \once \override NoteHead.output-attributes = #'((id . noteC))
>   c4 d e f |
> }
>
> How would I include multiple grobs within the same group e.g. all the grobs
> associated with a single note (NoteHead, Stem, Accidental etc.)?
>

All grobs have pointers to other single grobs or arrays of other
grobs.  You gain access to these through such functions as
ly:grob-parent, ly:grob-object, ly:grob-array, ly:item-get-column.
The idea of "multiple grobs within the same group e.g. all the grobs
associated with a single note" can prove to be complex since your idea
of a grouping is not necesarily LilyPond's.  You may have to follow
chains of pointers--as I did below to arrive at the Stem grob from
NoteHead: i.e, through NoteColumn, the Y-parent of the NoteHead.

So here is something quickly hacked together from your code example:

\version "2.19.65"

\pointAndClickOff
\relative c' {
  \once \override NoteHead.output-attributes =
  #(lambda (grob)
 (let* ((acc (ly:grob-object grob 'accidental-grob))
(acc-name (if (ly:grob? acc) (grob::name acc) "none"))
; we need a NoteColumn object for access to other grobs
(nc (ly:grob-parent grob Y))
(stem (ly:grob-object nc 'stem))
(stem-name (if (ly:grob? stem) (grob::name stem) "none"))
(pc (ly:item-get-column grob))
(pc-name (if (ly:grob? pc) (grob::name pc) "none"))
(elts (ly:grob-object pc 'elements)))
   (display elts) ; just so you see a grob array
   (list
(cons 'id 'noteC)
(cons 'accidental acc-name)
(cons 'stem stem-name)
(cons 'column pc-name

  c4 d e f |
}

%%%

Here is a link to something you might find useful.  It stores data
about every grob encountered.

https://www.mail-archive.com/lilypond-user@gnu.org/msg117645.html

HTH,

David
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SVG output - Group multiple grobs together

[James Opstad]

Hello,


I have been experimenting with the new output-attributes grob property for SVG 
output. For example, the following code creates a group with id="noteC" around 
the C notehead.


\version "2.19.80"
\pointAndClickOff
\relative c' {
  \once \override NoteHead.output-attributes = #'((id . noteC))
  c4 d e f |
}

How would I include multiple grobs within the same group e.g. all the grobs 
associated with a single note (NoteHead, Stem, Accidental etc.)?


Thanks,

James
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Re:Vintage Jazz Chords post in 2011 - Howto get it to display on Fresco?

[James Harkins]

> I pasted this into Frescabaldi...

you have to paste it to where lilypond can find it. That is not necessarily 
the font directory of lilypond, but I think that is not a wrong place. 
lilypond does not have frescobaldi in the search path.


As I read the original post, it's quite plausible that the poster pasted 
the LilyPond code into Frescobaldi and expected immediate display of music.


But Frescobaldi, with (AFAIK) default settings, displays nothing until you 
engrave the document (command in the menu labeled "LilyPond").


Daryl's exact words: "there were no error, but it didn't display anything!"

That's exactly what would happen if you put LP code into the editor but 
don't engrave it. (But, if he were engraving an LP document that depends on 
LilyJazz without installing LilyJazz, certainly he would get errors.)


So I think the disconnect may be more basic than any of the replies so far 
have addressed.


Daryl: After pasting the code into Frescobaldi, you need to hit ctrl-m 
(Windows or Linux) or cmd-m (Mac).


hjh


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Re: Required font for simplified Chinese characters?

[James Harkins]

 On Sat, 09 Dec 2017 14:23:46 +0800 Andrew Bernard wrote  
> With the release of stable version 2.20 coming out in the forseeable future, 
> and with 2.19.80 being really stable and excellent, could you considering 
> moving up? No crash occurs at 2.19.80, and there are dozens of really good 
> new features in this series, well worth having.

Sorry to come back very late to this thread.

I just tried 2.19.80, and this version *can* render simplified Chinese 
characters. Yes!

BUT... in 2.19, the handling of landscape orientation has changed.

In my v2.18.2 document, I used:

#(set-default-paper-size "a4" 'landscape)

... and I got a document that was wider than it is tall, and I could read the 
notation on screen directly. That's what I wanted.

In 2.19.80, without changing the code, I got a document whose paper is in 
portrait orientation, and whose notation was rotated 90 degrees 
counterclockwise. Staff lines read *upward* (???!) on the screen. Which... for 
reading is... shall we say, difficult.

#(set-default-paper-size "a4landscape") gives me the layout I wanted.

I'm not sure if this is intentional. The manual says "If the symbol 'landscape 
is added to the paper size function, pages will be rotated by 90 degrees, and 
wider line widths will be set accordingly." I am seeing that the page 
*contents* were rotated by 90 degrees and line widths were set accordingly, but 
the page dimensions did not rotate. So it isn't accurate to say that the 
**pages** will be rotated.

Try it yourself:

\version "2.19.80"
#(set-default-paper-size "a4" 'landscape)
\relative c' { c4 d e f g a b c }

Is it a bug, or out-of-date documentation?

I'm fairly sure nobody wants the behavior that is currently documented as the 
first option.

hjh


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Re: Required font for simplified Chinese characters?

[James Harkins]

Thanks to all for the advice.

And, now with a little spare time, I checked the font list:

$ lilypond -dshow-available-fonts 2>&1 | grep 'CJK SC'
family Noto Sans CJK SC
 Noto Sans CJK SC,Noto Sans CJK SC Bold:style=Bold,Regular
... and many other style variants

Unfortunately, the crash persists.

Minimal example:

\version "2.18.2"

\header {
  dedication = \markup {
\override #'(font-name . "Noto Sans CJK SC")  %% doesn't matter if I use 
Mono here or not
"为"
  }
}

{ c'1 }

I also had the thought: "dedication" is in italics, so maybe it's looking for 
an oblique variant that doesn't exist. So I tried ```\normal-text "为"``` but I 
still get the same ghostscript crash.

$ gs --version
9.18

Quite puzzled. My .ly document compiles perfectly, until I add a single Chinese 
character to a string.

hjh


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Re: Required font for simplified Chinese characters?

[James Harkins]

On December 8, 2017 12:33:21 Andrew Bernard <andrew.bern...@gmail.com> wrote:


Hi James,

What platform are you on?

Do you want simplified or traditional characters?


Oh right, I forgot the OS. I'm on Ubuntu Studio 16.04.

I'm based in mainland China, so, simplified characters.

Btw my messages seem to be delayed pretty regularly -- the last message 
took a day and a half to go out on the list. Which isn't a big problem for 
me, except it looks like I'm not replying quickly :D


Thanks,
hjh

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Required font for simplified Chinese characters?

[James Harkins]

I have:

\header {
  dedication = "为星海音乐学院的电脑乐团，2017年秋天"
  .
}

(Roughly, "For the Xinghai Conservatory Fall 2017 Laptop Orchestra" with no 
assurance of absolute correctness in the Chinese.)

I get:

Converting to `./test.pdf'...
warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 
-dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite 
-sOutputFile=./test.pdf -c.setpdfwrite -ftest.ps)' failed (256)

fatal error: failed files: 
"/media/dlm/7D53-8744/Docs/xinghai/17-18-fall/lork/score/test.ly"

I'm guessing it's looking for a specific CJK (Chinese-Japanese-Korean) font and 
not finding it.

Which one should I install?

I have used Chinese characters in LilyPond before, but this is a new machine. I 
must have missed something while setting it up.

Thanks.
hjh


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Re:[OT] Linux Users

[James Harkins]

FWIW, Emacs org-mode is a really nice way to integrate LaTeX and LilyPond for 
articles.

org-mode exports to LaTeX.

org-babel can automatically run LilyPond source blocks embedded in the org 
document, generating EPS and dropping it seamlessly into the LaTeX document. If 
you wrap the source block in a figure, you get a caption, index number and 
references for free.

hjh


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Re: Workaround for Issue 5001? (TupletNumber.avoid-slur)

[James Lowe]

Hello,

On Sun, 5 Nov 2017 13:02:43 +0100, Jan-Peter Voigt <jp.vo...@gmx.de> wrote:

> Hi list,
> 
> I just ran into issue 5001 
> (https://sourceforge.net/p/testlilyissues/issues/5001/)
> Does anybody know about a workaround?
> 
> Jan-Peter
> 

Well the initial problem on the user list that caused tihs tracker says that 
they used padding

http://lists.gnu.org/archive/html/lilypond-user/2016-11/msg00633.html

Is that what you wanted?

James
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Rhythmic clusters (i.e. *not* \makeClusters)

[James Harkins]

That other question...

I would like to notate some clusters, but articulated: blocks instead of notes, 
but showing repeated, re-articulated blocks.

\makeClusters doesn't do it. Even if I put a "s"kip in between, it still 
connects them into one massive gesture. Plus, I need rhythmic notation.

Temporarily, I'll use \improvisationOn, but I think that's not right. The idea 
in my mind is to replace the note column with a filled rectangle.

Thanks,
James


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Re: "Text spanner"-ish thing with text in the middle

[James Harkins]

 On Sat, 28 Oct 2017 13:55:49 +0800 Nathan Ho <nat...@snappizz.com> wrote 
 
> On 2017-10-27 21:37, James Harkins wrote: 
> > I couldn't find this quickly: for an unmetered section, I'd like to 
> > indicate duration by tuplet-style brackets, only not a tuplet (no 
> > change to note durations) and with arbitrary text markup in the 
> > middle...
>
> you can hijack an ordinary tuplet by setting the duration ratio to 1/1  
> and modifying the text: 

Nathan? *blinks* Of course there is some overlap between the LilyPond and 
SuperCollider communities ;)

That's a neat trick, to use a tuplet like that -- I'll give it a try. 
Otherwise, Andrew's approach looks good too.

I've got one more question -- separate question, separate thread.

BTW all this is for a new piece that will be premiered in San Diego this coming 
Thursday, on a recital of modern pieces for the khaen. The khaen is a free-reed 
mouth organ from Laos and northeast Thailand. My friend and grad school 
colleague Chris Adler has been playing and writing for the instrument for, oh, 
20 years now.

Thursday, November 2, 7:30 p.m.
USD: University of San Diego
Founders Chapel
5998 Alcala Park, San Diego

My piece is engraved in LilyPond, with electronics in SuperCollider. (I'm only 
cleaning up the notation of the electronic cues now -- the khaen music is 
already in Chris's hands.)

If you live within easy driving distance, this will be well worth the effort.

Thanks!
James


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"Text spanner"-ish thing with text in the middle

[James Harkins]

I couldn't find this quickly: for an unmetered section, I'd like to indicate 
duration by tuplet-style brackets, only not a tuplet (no change to note 
durations) and with arbitrary text markup in the middle, e.g. if a tuplet goes

:- 3 -:

I'd like

:--- 10" ---:

TextSpanner seems to assume text at the beginning or end, but not the middle.

Thanks in advance,
James


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Re: Piano Left Hand Alone

[James Harkins]

It's perhaps one of the confusing things in LilyPond that it engraves only 
the staves that you create. By convention, a piano staff has two staves, 
*but those staves don't exist unless you make them*.


A PianoStaff is a staff group (container for staves) with specific 
properties: left brace, keep-alive-together. By default, it contains zero 
staves. You may create only one staff in it, if you like.


That's different from Sibelius, e.g., which creates two staves for piano by 
default.


Is that the question? It's really not clear... have you tried creating a 
single-staff piano score and run into specific problems? If not, I suspect 
you'll have less difficulty than you may be anticipating.


hjh

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Markup + fermataMarkup over a note?

[James Harkins]

Hi all,

In an unmetered section, the soloist has some longish rests that I would like 
to notate this way, e.g.:

9-10"
fermata
full-bar rest (within the staff)

I know how to do the duration as a markup, and I know how to do \fermataMarkup, 
but I don't know how to combine them and center them.

I saw a mailing list post from 2008(!) saying that \fermataMarkup can go into a 
\markup{}, but either that post was mistaken, or the usage might have been 
valid in 2.10 but not anymore in 2.18.

I also looked for the \musicglyph identifier for a fermata, but this seems not 
to be documented in the Notation Reference's page on the Feta font. (Searching 
the page text for "fermata" failed.)

Thanks,
hjh


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Re: Markup + fermataMarkup over a note?

[James Harkins]

> I also looked for the \musicglyph identifier for a fermata, but this seems 
> not to be documented in the Notation Reference's page on the Feta font. 
> (Searching the page text for "fermata" failed.) 

To be more precise, I used Frescobaldi's doc browser search-in-page feature, 
and *this* failed. But it is very clearly there: "scripts.ufermata" -- OK. Now 
I know. Don't use that box in Frescobaldi anymore.

OK, so with that, I solved it.

fermataTest = \markup {
  \center-column {
\bold "9-10\""
\musicglyph #"scripts.ufermata"
  }
}

Sorry for the noise.
hjh


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Re: Reducing staff numbers in LilyPond

[James Harkins]

> On 16 Oct 2017 20:38, "Ken Williams"  wrote: 
> I honestly did not expect this kind of response, and I'm getting it from 
> multiple people.  I asked a technical question and got a whole bunch of 
> "answers" saying I'm stupid to try to achieve that effect.  Except for 
> Kieren hinting that it will probably be difficult, there has been *zero* 
> actual discussion about the technical aspects of it. 
>  
> If LilyPond or its community isn't friendly to people who want to 
> experiment with notation, I guess I'm finding that out pretty quickly. 

John Zorn once said (paraphrasing from memory), "The job of a composer is to 
put something on paper that inspires the people playing it."

I really love this. It reminds us that a musical score is a communication -- a 
relationship. If the score compromises its communication by being unclear -- if 
the players have to divert mental energy into reinterpreting the written 
material -- it takes energy away from inspiration and hurts the performance. 
(Relatedly, composers like Ferneyhough use the difficulty of their notation 
itself to create a relationship where the performers' struggle to realize the 
demand becomes part of the energy of the performance.)

I can see how some of the comments on this thread came across like, "You're 
doing it wrong," and this could seem like hostility toward the idea of 
experimenting with notation. I read it a bit differently. The commenters are 
expressing concern that you may have unpleasant surprises when you get into 
rehearsal. Some expressed this with sarcasm, which usually doesn't come across 
well in e-mail. But I think the motivation is sound: Choose the notation that 
will convey the meaning with the least chance of misunderstanding, at the very 
least saving rehearsal time, and also freeing up the performers to *make music* 
rather than think about notation.

hjh


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Re: "Creating MIDI Files" doc is wrong

[James Harkins]

 On Sun, 15 Oct 2017 18:32:29 +0800 David Kastrup  wrote  
> > Never mind, I see my mistake now. I had extrapolated from \new Staff 
> > and \new Voice to \new Score. LilyPond accepts \new Score 
> > (!). Possible improvement might be to reject that wrong syntax with an 
> > informative error. 
>  
> It isn't wrong syntax.  And there is no way to "extrapolate" since 
> \new Staff or \new Voice don't introduce different syntax from 
> \new Score and there is no \staff or \voice either. 

Wrong choice of word, perhaps... I had been writing a lot of "\new Staff" and 
"\new Voice," and I (incorrectly) extended that pattern up to score level.

It may be valid syntax, but I couldn't find what it's used for, anyway.

> > - Do I just write a number here, or prepend '#' -- 1.0 or #1.0? 
>  
> Prepending works reliably almost anywhere, not prepending works in most 
> places except markup as well.

"... almost anywhere..." ;)

> > - Single or double # for other entities? (#t vs ##t) 
>  
> #t and #f are Scheme expressions (not particularly pretty ones in my 
> book), and if you want to use them from LilyPond, you need to prepend # 
> or $.  Like with _everything_ you use from Scheme inside of LilyPond. 

A-ha. OK, the trouble is that I don't really understand the boundaries between 
LilyPond and Scheme. I'm far enough along to see how music expressions fit 
together in voices and staves (more or less), but for overrides, I can copy and 
edit some commands from the manuals but I don't *really* know what they're made 
of at a deep level.

It helps to know that # means "something from Scheme" and #t and #f are Scheme 
things, and so is 1.0, hence ##f and #1.0, but not ##1.0. Five years of 
intermittent use, and I didn't get it (maybe I still don't)... it may not be 
possible to improve, but it falls a bit short of being self-explanatory ;)

In any case, clearer now, thanks for the explanation.

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Re: "Creating MIDI Files" doc is wrong

[James Harkins]

 On Sun, 15 Oct 2017 17:39:18 +0800 James Harkins <jamshar...@zoho.com> 
wrote  
> However, the LP version installed from Ubuntu 16.04 packages requires this: 
>  
> \layout { } 
> \midi { } 
> \score { 
>   …music… 
> } 
>  
> \layout{} or \midi{} inside the \score causes a syntax error: 

1. If I write it as specified in the manual, I get a syntax error.

2. If I write it as above, I get no syntax error, and no MIDI file.

Confused.

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Re: "Creating MIDI Files" doc is wrong

[James Harkins]

> 1. If I write it as specified in the manual, I get a syntax error. 
>  
> 2. If I write it as above, I get no syntax error, and no MIDI file. 

Never mind, I see my mistake now. I had extrapolated from \new Staff and \new 
Voice to \new Score. LilyPond accepts \new Score (!). Possible improvement 
might be to reject that wrong syntax with an informative error.

That mistake is entirely my own fault, of course -- the result of coming back 
to LilyPond after a few years without writing for acoustic instruments and 
trying to be clever. But it does remind me of one of my general gripes with LP: 
the number of subtle syntactic variations. I *always* have to look up:

- Do I just write a number here, or prepend '#' -- 1.0 or #1.0?

- Single or double # for other entities? (#t vs ##t)

- Is it a (list of things), or a '(list of things), or a #'(list of things)?

But, yeah, the present case is my goof.

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"Creating MIDI Files" doc is wrong

[James Harkins]

I suppose this must have been reported at some point, but, LP 2.18.2 (stable):

http://lilypond.org/doc/v2.18/Documentation/notation/creating-midi-files

```
To create a MIDI output file from a LilyPond file, insert a \midi block inside 
a \score block;

\score {
  …music…
  \layout { }
  \midi { }
}
```

However, the LP version installed from Ubuntu 16.04 packages requires this:

\layout { }
\midi { }
\score {
  …music…
}

\layout{} or \midi{} inside the \score causes a syntax error:

```
Starting lilypond 2.18.2 [climax-test.ly]...
Processing `/home/dlm/share/SC/scd/khaen/tests/climax-test.ly'
Parsing...
/home/dlm/share/SC/scd/khaen/tests/climax-test.ly:90:3: error: syntax error, 
unexpected \layout
  
  \layout {}
/home/dlm/share/SC/scd/khaen/tests/climax-test.ly:4:1: error: errors found, 
ignoring music expression

\new Score {
```

$ lilypond --version
GNU LilyPond 2.18.2

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Re: Ties between voices?

[James Harkins]

 On Sat, 07 Oct 2017 23:15:17 +0800 Thomas Morley 
 wrote  
> > You could do \override TieColumn.positioning-done = ##t, but be aware, 
> > using it means you are now responsible yourself for the Tie's 
> > directions. 
> > You tell LilyPond "Don't bother placing the Ties, I'll do" 
>  
> Though the output is not convincing, imho. 

I think there's not really a good way.

So far, three options:

- LilyPond places ties (normal behavior): Three upper b's, two ties. The first 
tie is up and the second is down. The down-tie passes through a thick chord. I 
lose it visually.

- "positioning-done = ##t": Both upper-b ties go up. The second passes through 
a d note head and it passes under a tie that starts later, both of which are 
ugly, but I can see the tie clearly.

- \laissezVibrer: The \laissezVibrer ties go up and down, but the \repeatTies 
both go down. I could split the b's into one voice and the other chord notes 
into a different voice, but then I have an unpleasant bargain between the b's 
sitting off to the side (and, in my test, LP pushes the b's to the right, 
obscuring the \repeatTie), or smashing them into \oneVoice and then LP doesn't 
arrange the a and b properly.

To my eye, "positioning-done = ##t" is the least objectionable, so I'll go with 
that.

Thanks for all the advice -- I learned *a lot* from this and I'm happy with the 
outcome.

hjh


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Re: Ties between voices?

[James Harkins]

 On Sat, 07 Oct 2017 20:49:31 +0800 Simon Albrecht <simon.albre...@mail.de> 
wrote  
> On 07.10.2017 13:55, James Harkins wrote: 
> > But, it's a  chord where I want the lower tie to go down, and  
> > the upper one to go up...  
>  
> Put the ties inside the chord: 
> <b_~ b'^~> 

Oh... I'm afraid I spoke too soon. The syntax is accepted, but ignored in the 
printed output. I still get two down-ties.

It must be conflict-resolution logic. See the comment: "I remove *either* the a 
or the d from this chord, I get up/down ties."

\new Score {
  \new Staff {
<<
  { \time 4/4 \partial 4 s4 | s4*2 }
  \new Voice = "zeroA03" \relative c' {
\set tieWaitForNote = ##t
4 ~
<b_~ b'^~>1 1
  }
  \context Voice = "zeroA03" \relative c' {
s4
s2.
\hideNotes
% if I remove *either* the a or the d from this chord,
% I get up/down ties from  above
\voiceTwo \tieNeutral 4 ~
\unHideNotes
  }
  % This displays the e-f-a-d notes
  % that are the source of the 4 extra ties.
  % Doesn't matter to  tie behavior
  %\new Voice = "zeroB03" \relative c' {
  %  s4
  %  \voiceTwo \tieNeutral r4 2 ~ 4 %~
  %}
>>
  }
}

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Re: Ties between voices?

[James Harkins]

On October 7, 2017 20:49:38 Simon Albrecht <simon.albre...@mail.de> wrote:


On 07.10.2017 13:55, James Harkins wrote:

But, it's a  chord where I want the lower tie to go down, and
the upper one to go up...


Put the ties inside the chord:
<b_~ b'^~>


I'm binge watching Rick & Morty season 3, but this blows my mind even more 
than that.


Never dreamed it. :-O

Thanks --
hjh

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Re: Ties between voices?

[James Harkins]

On October 7, 2017 14:52:06 Werner LEMBERG  wrote:


Without looking at your example:  Use `_~' and `^~' instead of `~' to
immediately specify a tie's direction.


Crikey, I knew about that for slurs, didn't think of it for ties.

But, it's a  chord where I want the lower tie to go down, and the 
upper one to go up...


I have played with tie-configuration before but I have no idea how it works 
when the tie onsets are staggered.


hjh

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Re: Ties between voices?

[James Harkins]

Continuing with this neat "\context Voice" trick -- quite powerful. I see how 
it works: you have two expressions stuffing events into the same Voice context, 
and LP merges them into one timed list and does the best it can to make sense 
out of the tie properties.

I've got one I can't quite get right. I would like the tie from the upper B 
whole note to be up instead of down. It almost looks like it's inferring 
voiceTwo or voiceFour from somewhere, but I've been fiddling with it and I 
can't find it. Even with multiple \tieNeutral commands (which surely must be 
redundant), LP insists on pulling the ties on both B notes down.

Removing zeroB03 and zeroC03: no difference.

Removing \context Voice = "zeroA03" -- the B ties are as I expect, but then I 
don't get the ties on the other notes going into the next bar.

\new Score {
  \new Staff {
<<
  { \time 4/4 \partial 4 s4 | s4*2 }
  \new Voice = "zeroA03" \relative c' {
\set tieWaitForNote = ##t
4 ~
\tieNeutral q1 ~ ) \oneVoice \tieNeutral 1
  }
  \context Voice = "zeroA03" \relative c' {
s4
s2.
\oneVoice \stemDown \tieNeutral
\hideNotes 4 ~
\unHideNotes
  }
  \new Voice = "zeroB03" \relative c' {
s4
\voiceTwo \tieNeutral r4 2 ~ 4 %~
  }
  \new Voice = "zeroC03" \relative c''' {
s4 s1
\voiceThree r8 g4. ~ g2
  }
>>
  }
}

Any suggestions?

(I know it's hard. The instrument spans two octaves, so a single staff is more 
appropriate, and it can play 6-8-note chords easily, with independent 
note-on/off. It's a stretch, even with pen and paper.)

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Re: Ties between voices?

[James Harkins]

A-ha, got it, it was a combination of Harm's trick plus a hidden note:

\new Score {
  \new Staff {
\numericTimeSignature
<<
  \new Voice = "a" \relative c' {
\voiceOne
\set tieWaitForNote = ##t
c16 g' ~ 8 ~ q2. ~
q2 ~ 2
  }
  \context Voice = "a" \relative c' {
s1
s4 \voiceTwo \hideNotes f4 ~ \unHideNotes
  }
  \new Voice = "b" \relative c' {
\voiceTwo
r4 r8 f8
\override Beam.grow-direction = #RIGHT
f16 [ f f f  f f f f ]
\override Beam.grow-direction = #LEFT
f [ f f f ] ~ f4
  }
  \new Voice = "c" \relative c'' {
s1 s2 \voiceOne a8 ( g4. )
  }
>>
  }
}

Thanks, I would never have figured out "\context Voice" by myself.

hjh


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Re: Ties between voices?

[James Harkins]

> Probably: 
>  
> \new Score { 
>   \new Staff { 
> \numericTimeSignature \time 2/4  % barline, so E must be tied 
> << 
> \new Voice = "xy" \relative c' { 
>   \set tieWaitForNote = ##t 
>   2~ 
> } 
> \context Voice = "xy" \relative c' { 
>   s4 \voiceTwo f4 ~ 2 
> } 
> \new Voice { r4 s4 a'8 g'4. } 
> >> 
> \unset tieWaitForNote 
>   } 
> } 

Ah, that's a lovely idea -- but I had oversimplified, and this doesn't quite 
scale up.

\version "2.18.2"
\language "english"

\new Score {
  \new Staff {
\numericTimeSignature
<<
  \new Voice = "a" \relative c' {
\voiceOne
c16 g' ~ 8 ~ q2. ~
\set tieWaitForNote = ##t
q2 ~
  }
  \context Voice = "a" \relative c' {
s4 s8 \voiceTwo f
\override Beam.grow-direction = #RIGHT
f16 [ %{ \override NoteHead.transparent = ##t %} f f f  f f f f ]
\override Beam.grow-direction = #LEFT
f [ f f %{ \revert NoteHead.transparent %} f ] ~ f4 ~ 2
  }
  \new Voice = "b" \relative c' {
\voiceTwo r4 r8 s8 s2 s2 \voiceOne a'8 g4.
  }
>>
\unset tieWaitForNote
  }
}

If you uncomment the transparent note heads, it's a right bloody mess.

I might have to rethink it. Maybe two staves are the only way.

hjh


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Ties between voices?

[James Harkins]

Hi, been away for awhile.

I'm now writing for khaen, a Thai mouth organ. Fascinating instrument. Notation 
is usually single-staff and heavily multi-voiced.

One nut I never cracked in LilyPond: how to tie a note from one Voice to 
another, e.g.

\new Score {
  \new Staff <<
\numericTimeSignature \time 2/4  % barline, so E must be tied
\new Voice \relative c' {
  \voiceOne 2 a8 g4.
}
\new Voice \relative c' {
  \voiceTwo r4 f4 ~ 2
}
  >>
}

I need a tie from the e in 2 (voice 1) to the e in 2 (voice 2).

How to restructure this to make it possible?

Thanks.

hjh


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Re: Documentation - issue #318 ; 1.4.2. Short repeats / Tremolos

[James]

Hello Ralf,

On Tue, 1 Aug 2017 09:10:30 -0400
Ralph Palmer <palmer.r.vio...@gmail.com> wrote:

> Greetings -
> 
> Darek Cidlinský has noticed the issue with whole note (two note)
> tremolo slashes not angling between the two whole notes. This has been
> accepted as issue #318. I suggest that a Known Issues and Warnings
> section be added to :
> 
> 1.4.2. Short repeats
>  Tremolos
> 
> addressing the issue.
> 
> Ralph
> 

Issue 318 is marked as a defect (i.e. bug) we don't normally document
bugs as 'known issues' in the Notation Reference.

James

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Re: Font cache issues on Windows 10

[James Lowe]

Hello,

On 07/11/16 20:27, Gianmaria Lari wrote:
> [Lilypond 2.19.49 slow compilation time and font cache]
>
> But the solution seems
>> to be to simply delete the cache, prompting a rebuild, so it's not
>> a big deal for most of us.
>
> It's not a big deal if you know it!
>
> Because it's a very annoying issue and it makes a very bad impression it
> would be nice if it was mentioned somewhere where you donwload the
> application. Just my two cents
> g.

Suggest some text and we can go from there.

-- 
--

James


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Re: Ties between words in lyrics

[James Evensen]

When I said "tie," I meant that general family of expressive marks as I
wasn't sure how to refer to them in the context of lyrics.  In fact, while
I would like the use of any type of curve, the dotted slur is the notation
I want to use.

It sounds though that support for this kind of notation with lyrics isn't
here yet.  I'm inserting "n.b." as markup where the choir isn't supposed to
breathe at the moment, but if this ever gets added, I'd be most interested.

On Wed, Sep 14, 2016 at 10:37 AM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi James,
>
> > In choral music, I've noticed that the composer will sometimes use this
> notation to indicate that the singer is not to breathe in-between two
> particular words.
>
> In my experience, the more standard/accepted way is to have a dotted slur
> between the notes, with the lyric-slur reserved for true elisions. In fact,
> I’ve *never* seen what you’re talking about, despite having sung in and
> composed for choirs for thirty years. Do you have references/scans that you
> can share?
>
> Thanks,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>


-- 
James Evensen
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Ties between words in lyrics

[James Evensen]

Can I put a tie between words in lyrics?  In choral music, I've noticed
that the composer will sometimes use this notation to indicate that the
singer is not to breathe in-between two particular words.  I've looked
around, but the only examples I've seen of ties used in Lilypond are
between notes.

-- 
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Re: partially frenched score

[james]

> On Jun 5, 2016, at 11:37 AM, james <james.lilyp...@googlemail.com> wrote:
> 
> 
>> On Jun 5, 2016, at 11:35 AM, David Kastrup <d...@gnu.org> wrote:
>> 
>> james <james.lilyp...@googlemail.com> writes:
>> 
>>> Is there an easier way of creating a partially frenched score?
>> 
>> Easier than what?
>> 
>>> I'd like to hide all of the empty staves for a bit, but then show even
>>> the 20 measures of rests later on.
>> 
>> Well, shouldn't adding rest-interface to keepAliveInterfaces do the
>> trick?
>> 
>> -- 
>> David Kastrup
> 
> Easier than manually making ossia staves. For those, I have to hide 
> everything, unlike the RemoveEmptyStaves which does it all for me, I just 
> can't turn that off.

The best workaround I have now is to have two voices, one with the visible 
rests and another with hidden notes. Just looking for alternatives.

James
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Re: partially frenched score

[james]

> On Jun 5, 2016, at 11:35 AM, David Kastrup <d...@gnu.org> wrote:
> 
> james <james.lilyp...@googlemail.com> writes:
> 
>> Is there an easier way of creating a partially frenched score?
> 
> Easier than what?
> 
>> I'd like to hide all of the empty staves for a bit, but then show even
>> the 20 measures of rests later on.
> 
> Well, shouldn't adding rest-interface to keepAliveInterfaces do the
> trick?
> 
> -- 
> David Kastrup

Easier than manually making ossia staves. For those, I have to hide everything, 
unlike the RemoveEmptyStaves which does it all for me, I just can't turn that 
off.
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partially frenched score

[james]

Is there an easier way of creating a partially frenched score? I'd like to hide 
all of the empty staves for a bit, but then show even the 20 measures of rests 
later on.

Thanks,

james
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Re: Displaying Japanese & Chinese characters.

[James Sa]

Hi Ming,

In fact I am using Frescobaldi as my editor. It can process UTF8 correctly.
It's looks like a font issue on PostScript side.

Thank you.

james

On Mon, May 2, 2016 at 3:33 AM ming <tsan...@rogers.com> wrote:

> James,
>
>
>
> In your editor select UTF-8 and lily support UTF-code. This will display
> Chinese character.  I have been using this since lilypond v2.12.
>
>
>
> Immanuel,
>
> Ming
>
>
>
> Sent from Mail <https://go.microsoft.com/fwlink/?LinkId=550986> for
> Windows 10
>
>
>
-- 
james
send from Inbox.
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Re: Displaying Japanese & Chinese characters.

[James Sa]

Hi Thomas,

Thanks for the hint. After installing Kochi-Mincho, I can display correctly
but the font quality is not good. At least, it's a beginning. Does anyone
have the same issue on El Capitan?

head FontIssue.ps
%!PS-Adobe-3.0
%%Creator: LilyPond 2.19.40
%%Pages: 1
%%PageOrder: Ascend
%%Orientation: Portrait
%%DocumentMedia: a4 595.28 841.89 80 () ()
%%DocumentSuppliedResources: font Sazanami-Mincho-Regular
%%DocumentSuppliedResources: font TeXGyreSchola-Regular
%%EndComments
%%BeginProlog


On Mon, May 2, 2016 at 12:52 AM Thomas Morley <thomasmorle...@gmail.com>
wrote:

> 2016-05-01 15:51 GMT+02:00 James Sa <james.sa.2...@gmail.com>:
> > I bump into a problem that I cannot render CJVK characters correctly.
> >
> > === Here's the tiny sample ===
> > \version "2.19.40"
> >
> > \header {
> >   title = "標題" % Use only English is fine. CJVK seems broken.
> > }
> >
> > \score {
> >   \new Staff {
> >   }
> > }
> >
> > === Here's the output ===
> > %{
> > Starting lilypond 2.19.40 [FontIssue.ly]...
> > Processing `/Users/james/Desktop/LilyPond/FontIssue.ly'
> > Parsing...
> > Interpreting music...
> > warning: no music found in score
> > Preprocessing graphical objects...
> > Finding the ideal number of pages...
> > Fitting music on 1 page...
> > Drawing systems...
> > Layout output to
> > `/var/folders/q5/v_dc7mwn4jxf9t_tw60r3lfcgn/T//lilypond-H4xHPg'...
> > Converting to `FontIssue.pdf'...
> > warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28
> > -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH
> > -r1200 -sDEVICE=pdfwrite -sOutputFile=FontIssue.pdf -c.setpdfwrite
> > -f/var/folders/q5/v_dc7mwn4jxf9t_tw60r3lfcgn/T//lilypond-H4xHPg)'
> failed
> > (256)
> >
> > fatal  error: failed files: "/Users/james/Desktop/LilyPond/FontIssue.ly"
> > %}
> >
> > And my full lilypond -dshow-available-fonts is here.
> > https://gist.github.com/jamessa/1d8ab3e999b75d36e762f7b3f9626e8c
> >
> > head of my PS file.
> > head /var/folders/q5/v_dc7mwn4jxf9t_tw60r3lfcgn/T//lilypond-G3vKM7
> > %!PS-Adobe-3.0
> > %%Creator: LilyPond 2.19.40
> > %%Pages: 1
> > %%PageOrder: Ascend
> > %%Orientation: Portrait
> > %%DocumentMedia: a4 595.28 841.89 80 () ()
> > %%DocumentSuppliedResources: font HiraKakuStdN-W7
> > %%DocumentSuppliedResources: font TeXGyreSchola-Regular
> > %%EndComments
> > %%BeginProlog
> >
> > I have no idea where does the "HiraKakuStdN-W7" comes from. Can someone
> > point me a way to do this. I also tried to install latest gs using
> homebrew.
> > Still no luck.
> >
> > best regards,
> > james sa
>
>
>
> Compiles fine here (Linux Ubuntu 15.04 64-bit).
>
> The ps-file shows:
>
> %!PS-Adobe-3.0
> %%Creator: LilyPond 2.19.40
> %%Pages: 1
> %%PageOrder: Ascend
> %%Orientation: Portrait
> %%DocumentMedia: a4 595.28 841.89 80 () ()
> %%DocumentSuppliedResources: font Kochi-Mincho
> %%DocumentSuppliedResources: font TeXGyreSchola-Regular
> %%EndComments
> [...]
>
> Sorry to be of no more help,
>   Harm
>
-- 
james
send from Inbox.
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Displaying Japanese & Chinese characters.

[James Sa]

I bump into a problem that I cannot render CJVK characters correctly.

=== Here's the tiny sample ===
\version "2.19.40"

\header {
  title = "標題" % Use only English is fine. CJVK seems broken.
}

\score {
  \new Staff {
  }
}

=== Here's the output ===
%{
Starting lilypond 2.19.40 [FontIssue.ly]...
Processing `/Users/james/Desktop/LilyPond/FontIssue.ly'
Parsing...
Interpreting music...
warning: no music found in score
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to
`/var/folders/q5/v_dc7mwn4jxf9t_tw60r3lfcgn/T//lilypond-H4xHPg'...
Converting to `FontIssue.pdf'...
warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28
-dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH
-r1200 -sDEVICE=pdfwrite -sOutputFile=FontIssue.pdf -c.setpdfwrite
-f/var/folders/q5/v_dc7mwn4jxf9t_tw60r3lfcgn/T//lilypond-H4xHPg)'
failed (256)

fatal  error: failed files: "/Users/james/Desktop/LilyPond/FontIssue.ly"
%}

And my full lilypond -dshow-available-fonts is here.
https://gist.github.com/jamessa/1d8ab3e999b75d36e762f7b3f9626e8c

head of my PS file.
head /var/folders/q5/v_dc7mwn4jxf9t_tw60r3lfcgn/T//lilypond-G3vKM7
%!PS-Adobe-3.0
%%Creator: LilyPond 2.19.40
%%Pages: 1
%%PageOrder: Ascend
%%Orientation: Portrait
%%DocumentMedia: a4 595.28 841.89 80 () ()
%%DocumentSuppliedResources: font HiraKakuStdN-W7
%%DocumentSuppliedResources: font TeXGyreSchola-Regular
%%EndComments
%%BeginProlog

I have no idea where does the "HiraKakuStdN-W7" comes from. Can someone
point me a way to do this. I also tried to install latest gs using
homebrew. Still no luck.

best regards,
james sa
-- 
james
send from Inbox.
-- 
james
send from Inbox.
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unfoldRepeats and : shortcut

[james]

Hello, I've discovered something that looks to be intentional behavior, just 
not expected. The : shortcut for tremolos doesn't expand in unfoldRepeats. Is 
the only way to get tremolos to expand to use the full notation?

\version "2.18.2"
test = \relative c' { \repeat tremolo 4 { 16 e } \repeat tremolo 4 {  
d } a'2:8 g: }
\score { \new Staff \test }
\score { \new Staff \unfoldRepeats { \test } }

Thanks, James
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Re: unfoldRepeats and : shortcut

[james]

> On Jan 21, 2016, at 6:36 PM, lilyp...@maltemeyn.de wrote:
> 
> Am 2016-01-21 15:57, schrieb james:
>> Hello, I've discovered something that looks to be intentional
>> behavior, just not expected. The : shortcut for tremolos doesn't
>> expand in unfoldRepeats. Is the only way to get tremolos to expand to
>> use the full notation?
> \articulate (from articulate.ly) does this expansion (among others). If you 
> want this expansion but not different note lengths for staccati etc. you can 
> change the shortening factors.
> 

Thanks, I didn't realize it had advanced so far as to be part of the main 
distribution.



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Re: [feature-request] optional duration for temporary

[James Lowe]

On 11/11/15 02:58, Kieren MacMillan wrote:
> Hello all,
>
> Rather than having to \revert an \override (or set of \override-s), might it 
> be possible to set an optional duration for which the override would be in 
> effect? e.g.
>
>   \temporary #’(10 1/8) \override LyricText.extra-offset = #’(0 . -1)
>
> would lower the LyricText(s) for exactly 10 measures and 1 eighth note after 
> the command was issued.
>
> Just a “would be nice”.
>
> Thanks!
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
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Hello Kieren,

I have opened

https://sourceforge.net/p/testlilyissues/issues/4658/

for this.

-- 
James

---

B8F4 5395 CBE2 ED37 7513 B075 FF32 5682 A84B D8BE


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Re: PDF Links in Windows

[James]

Hello,

On 05/10/15 10:23, Urs Liska wrote:
>
> Am 05.10.2015 um 11:18 schrieb Federico Bruni:
>> Il giorno lun 5 ott 2015 alle 10:57, Federico Bruni
>> <f...@inventati.org> ha scritto:
>>> Il giorno lun 5 ott 2015 alle 9:54, Urs Liska <u...@openlilylib.org> ha
>>> scritto:
>>>> I think what he wants is the following:
>>>> - view the PDF in Acrobat Reader (for its better resolution or
>>>> whatever reason,
>>>>   I think he knows how to do that (as it's where he's coming from)
>>>> - Click on the note in Acrobat Reader and have Frescobaldi open the
>>>> input file
>>>>   at the correct location.
>>>>
>>>> I don't know how to do it but it's a valid request IMHO, and I
>>>> wanted to make it clear.
>>>>
>>>> Once you figured that out could someone please consider writing a
>>>> tutorial for Scores of Beauty?
>>> I made a try but could not find any setting in Adobe Reader DC in my
>>> virtualized Windows guest. Adobe reader thinks that textedit URIs
>>> should be opened in a browser..
>>>
>>> I found this question with a wrong answer:
>>> https://forums.adobe.com/thread/305151
>>>
>>> and this discussion:
>>> http://forums.fofou.org/sumatrapdf/topic?id=934325
>>>
>>> I have the feeling that trying to achieve this with a Free (as in
>>> freeedom) PDF reader for Windows, like Sumatra, would be a better idea.
>>>
>> "Custom protocol handlers aren't supported by Adobe Reader X and later
>> for security reasons."
>> https://forums.adobe.com/message/5593888#5593888
> Is this definitive?
>
> Then this should be added to the documentation somewhere (CCing to
> bug-lilypond).
>
> Urs

Do we have an example of a PDF that he is trying to use here?

I use a number of different readers at work and they all behave
differently and on different operating systems. The information "Custom
protocol handlers aren't supported by Adobe Reader X and later for
security reasons." isn't very explanatory in the context of LilyPond.

To help the bug squad could you articulate more clearly what is needed
here than just forwarding some thread from another list?

It puts people off trying to find out the information to create or
investigate the different behaviour. I've already spent 10 mins trying
to work out what the *specific* problem is, how it relates to LP and how
to even validate this isn't just something on someone's own environment
that might not be a problem elsewhere.

James



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Re: repeated flags

[james]

> On Sep 20, 2015, at 11:37 AM, David Kastrup <d...@gnu.org> wrote:
> 
> james <james.lilyp...@googlemail.com> writes:
> 
>> Hello,
>> 
>> I've recently had a problem with flags being repeated in my printouts. The 
>> pdf file is
>> fine, but for some reason, when I print it, some of the flags are repeated. 
>> I've tried
>> this on different files and on different printers with similar results.
>> *
>> *
>> Is this a known issue? Is there anything I can do about it?
> 
> Well, this is a combination of an overprinting and a positioning issue.
> I have no idea about the positioning issue.  But the overprinting issue
> might be
> 
> commit 555eba6c5d21610b1ad87a68a4304946212fb69d
> Author: David Nalesnik <david.nales...@gmail.com>
> Date:   Mon Aug 24 09:13:31 2015 -0500
> 
>Don't print redundant flags in chords
> 
>This patch adds a check to lily/stem-engraver.cc which ensures that only
>one Flag grob appears for a given Stem grob.  Previously, a flag was 
> created
>and printed for each note of a chord.
> 
> resolved in 2.19.26.  So you are likely not to see this problem in this
> form in future.  But the positioning of the single flag (or other stuff
> then related to it) might still be bad.  Maybe a font metric problem?
> 
> -- 
> David Kastrup


Oh, I probably should have mentioned I'm using 2.18.2. But it sounds like 
you're saying if I upgrade to 2.19.26, I shouldn't see the problem.

Thanks,
James
Sent from my iMac


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repeated flags

[james]

Hello,

I've recently had a problem with flags being repeated in my printouts. The pdf 
file is fine, but for some reason, when I print it, some of the flags are 
repeated. I've tried this on different files and on different printers with 
similar results.


Is this a known issue? Is there anything I can do about it?

Thanks,
James
Sent from my iMac

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Re: repeated flags

[james]

> On Sep 20, 2015, at 12:39 PM, David Kastrup <d...@gnu.org> wrote:
> 
> james <james.lilyp...@googlemail.com> writes:
> 
>>> On Sep 20, 2015, at 11:37 AM, David Kastrup <d...@gnu.org> wrote:
>>> 
>>> commit 555eba6c5d21610b1ad87a68a4304946212fb69d
>>> Author: David Nalesnik <david.nales...@gmail.com>
>>> Date:   Mon Aug 24 09:13:31 2015 -0500
>>> 
>>>   Don't print redundant flags in chords
>>> 
>>>   This patch adds a check to lily/stem-engraver.cc which ensures that only
>>>   one Flag grob appears for a given Stem grob.  Previously, a flag
>>> was created
>>>   and printed for each note of a chord.
>>> 
>>> resolved in 2.19.26.  So you are likely not to see this problem in this
>>> form in future.  But the positioning of the single flag (or other stuff
>>> then related to it) might still be bad.  Maybe a font metric problem?
>> 
>> Oh, I probably should have mentioned I'm using 2.18.2. But it sounds
>> like you're saying if I upgrade to 2.19.26, I shouldn't see the
>> problem.
> 
> Well, the commit fixed the PDF file containing multiple copies of the
> flags printed on top of each other.
> 
> "The problem" in your case, however, is that the flags were _not_
> printed on top of each other.  Whatever has caused that problem is
> likely _not_ fixed and likely happens in your printer driver or whatever
> it is that converts PDF (I assume you are printing via PDF rather than
> LilyPond-produced PostScript directly which would, given our current
> manner of PDF creation, likely create superior results) to the printer
> language.
> 
> I don't know whether this positioning bug only triggers for multiple
> characters printed in exact the same place.
> 
> Since it apparently does not occur with PDF viewing for you but rather
> than just with printing, it is likely a problem outside of the control
> of LilyPond.
> 
> In summary: it is likely that the problem is still there, but it won't
> be visible as the flag shadow symptom in particular any more.  But there
> may be other less conspicuous symptoms.
> 
> -- 
> David Kastrup


Okay, that sounds a bit more technical than I am able to understand. As 
mentioned earlier, I've had this problem on two different printers (my home 
printer and the copy shop near my house), but if I'm understanding you 
correctly, the problem would still be there (in the background) with the 
development version, but I wouldn't be able to see it because something else 
would prevent me from seeing the problem—for all intent and purposes, the 
problem wouldn't be there in my printed score. Right? I guess I'll try tomorrow 
when the copy shop is open again.

Thanks,
James
Sent from my iMac


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TextSpanner + \mark?

[James Harkins]

Is there a way to use a textspanner with a \mark?

Rationale: accel. and rit. directions are frequently text spanners, but
in the score, they aren't printed in every part (as \mark items are not
printed in every part). Of course, in the parts, they must appear (as
\mark's do).

Currently (as far as I know), to get this, I have to \tag them and suppress
them from the score.

Is there a better way?

hjh


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Re: TextSpanner + \mark?

[James Harkins]

Simon Albrecht simon.albrecht at mail.de writes:

 Unfortunately no. See 
 https://code.google.com/p/lilypond/issues/detail?id=3176.

I had a feeling that was the answer. :(

It's not a huge deal for my current project, but it's certainly a weakness.

hjh


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\afterGrace control over stem length

[James Harkins]

Hi, I have a couple of \afterGrace's in close proximity. One has normal-looking 
stems on the grace notes (attached, first bar). The other's stems are too long 
(third bar).

I'm not tweaking, overriding or setting anything at that point in the input 
code:

  g4 ~ \ g8 ) af4. ~ (
  af g8 ~ g4 ) r8 \p \afterGrace c8 ( \mp\ { d16 [ e ] }
  f8 \ e ) d16 ( c8. ) \! f,4. r8
  r2 r4 \clef bass \afterGrace d4 \mp _( { df16 [ c ] }
  b4. ) \ g8 ~ g16 f8. c4- ~ \f\

(And, just for fun, I tried moving \clef bass before the r4 -- no effect, as 
I would have expected.)

I'm satisfied to override the stem length, but I'm not finding the answer in 
the manual. Stem overrides seem to be for unbeamed stems. Beam overrides are... 
opaque to say the least.

How do I shorten these stems by 1 or 2 staff spaces? (I know the override needs 
to come inside the { df16 ... } expression.)

Thanks.

hjh

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Re: \afterGrace control over stem length

[James Harkins]

Pierre Perol-Schneider pierre.schneider.paris at gmail.com writes:

 I was not able to reproduce the stem length shown on your picture. Please
be so kind to send compilable example including the version you're using.

That might be awhile... time is short at the moment and I have a feeling
that it won't be an obvious combination of factors causing this behavior.

I'm on 2.18.2. I'll use the positions property.

 Doc's here:
http://www.lilypond.org/doc/v2.18/Documentation/learning/fixing-overlapping-notation#the-positions-property

Ah... thanks. I haven't been over the tweaking section of the learning
manual very thoroughly. That should be my next stop...

hjh


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Facebook Engravers Group

[Matthew James Briggs]

LilyPond users may want to consider joining this Facebook group so that
LilyPond is better represented therein.  I recently posted Are there any
serious LilyPond users here? in the group and no one said yes.  Here is
a poll that is currently being discussed in the group.  Sadly I am just a
LilyPond wannabe for now so I had to click Finale on the poll.

.mjb

https://www.facebook.com/groups/1398324947133060/
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Re: Lining up key signatures

[James Worlton]

On Tue, Apr 28, 2015 at 7:33 PM, Kieren MacMillan 
kieren_macmil...@sympatico.ca wrote:

 Hi James,

  I don't see a way to make the key-cancellation and key-signature
 simultaneous.

 The following (hacky!) code seems to work for me:

 \version 2.19.18

 musicA = {
   \key c \major
   \repeat unfold 2 { c'4 c' c' c' }
   \key des \major
   des'1
 }

 musicB = {
   \key fis \major
   \repeat unfold 2 { dis'4 dis' dis' dis' }
   \override Score.KeyCancellation.X-extent = #'(-0.125 . 0) \key c \major
   e'1
 }

 \score {
   \new StaffGroup 
 \new Staff { \musicA }
 \new Staff { \musicB }
   
 }

 Hope that helps!
 Kieren.


Thanks everyone for responding. (Sorry for the delay in replying. I've been
slammed busy since I posted my original question.) The workaround that I'm
using, which works great for my purposes, is from Keith's comment (#2) on
the bug tracker:
https://code.google.com/p/lilypond/issues/detail?id=448

I inserted  \override Staff.KeyCancellation #'X-extent = #'(0 . 0) in the
Staff just before the key change that resulted in the key cancellations.
Works great for my needs at this time!

James W.
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Re: Lining up key signatures

[James Worlton]

Actually the workaround is from Mats, not Keith. Sorry.
James W

On Wed, Apr 29, 2015 at 1:37 PM, James Worlton jworl...@gmail.com wrote:

 On Tue, Apr 28, 2015 at 7:33 PM, Kieren MacMillan 
 kieren_macmil...@sympatico.ca wrote:

 Hi James,

  I don't see a way to make the key-cancellation and key-signature
 simultaneous.

 The following (hacky!) code seems to work for me:

 \version 2.19.18

 musicA = {
   \key c \major
   \repeat unfold 2 { c'4 c' c' c' }
   \key des \major
   des'1
 }

 musicB = {
   \key fis \major
   \repeat unfold 2 { dis'4 dis' dis' dis' }
   \override Score.KeyCancellation.X-extent = #'(-0.125 . 0) \key c \major
   e'1
 }

 \score {
   \new StaffGroup 
 \new Staff { \musicA }
 \new Staff { \musicB }
   
 }

 Hope that helps!
 Kieren.


 Thanks everyone for responding. (Sorry for the delay in replying. I've
 been slammed busy since I posted my original question.) The workaround that
 I'm using, which works great for my purposes, is from Keith's comment (#2)
 on the bug tracker:
 https://code.google.com/p/lilypond/issues/detail?id=448

 I inserted  \override Staff.KeyCancellation #'X-extent = #'(0 . 0) in the
 Staff just before the key change that resulted in the key cancellations.
 Works great for my needs at this time!

 James W.


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Re: Lining up key signatures

[James Worlton]

(Sorry, sent to Carl only by mistake.)

On Tue, Apr 28, 2015 at 5:55 PM, Carl Sorensen c_soren...@byu.edu wrote:

On 4/28/15 3:20 PM, James Worlton jworl...@gmail.com wrote:

 I don't see a way to make the key-cancellation and key-signature
 simultaneous.

 I wouldn't expect there to be a way to make them simultaneous.  The
 cancellation *should* show up before the new key signature, IMO.


I can appreciate that on logical grounds--cancellations should come before
a new key signature. But, someone at Universal Editions didn't think so
when they engraved Bartok's 44 Duets for 2 violins. (I'm creating a theory
example from this.) Attached is a shot of exactly what I'm trying to do.
It's not a show-stopper if I can't do it. It would be nice though.

James W.
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Lining up key signatures

[James Worlton]

Hello all,

The following code creates the image attached. The problem is that I can't
figure out how to vertically align the cancellation in the lower staff
with the new key signature in the upper staff. I've tried the snippet at
http://lsr.di.unimi.it/LSR/Snippet?id=541 (included in the code) but that
lists the elements in horizontal order in which they appear, and I don't
see a way to make the key-cancellation and key-signature simultaneous.

\version 2.19.18

musicA = {
  \key c \major
  \repeat unfold 2 { c'4 c' c' c' }
  \key des \major
  des'1
}

musicB = {
  \override Score.BreakAlignment.break-align-orders =
##((left-edge ambitus breathing-sign clef staff-bar
   key-cancellation key-signature time-signature custos)

(left-edge ambitus breathing-sign clef key-cancellation
   staff-bar key-signature time-signature custos)

(left-edge ambitus breathing-sign clef key-cancellation
   key-signature staff-bar time-signature custos))
  \key fis \major
  \repeat unfold 2 { dis'4 dis' dis' dis' }
  \key c \major
  e'1
}

\score {
  \new StaffGroup 
\new Staff { \musicA }
\new Staff { \musicB }
  
}

Thanks for any help!
James Worlton
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Re: Do we really offer the future?

[James Harkins]

On April 22, 2015 7:43:10 PM Trevor Daniels t.dani...@treda.co.uk wrote:

Although not well-publicised there is a way of entering multi-voice or 
multi-staff music complete bar by complete bar.  There is a restriction 
that bars must be all the same length, but at least all the notes of a bar 
are entered together and remain close together in the LP source.


See 
http://www.lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#writing-music-in-parallel


Thanks for the tip - I wasn't aware of this. I'm outside on my phone now, 
not ideal for reading the documentation, so I can't comment specifically 
except to guess that it may be impractical for large, complex projects.


Going back to the general topic: I don't think the solution is necessarily 
to extend the LilyPond language. LP is *very* good at what it does. But 
David's comment that LP is a language to organize grobs, rather than 
*principally* a language to organize music, is insightful. Viewed this way, 
it's then unsurprising that LP, in a couple of glaring ways, doesn't always 
mesh with the needs of working musicians.


The fact that LP is so good at what it does means that it's quite likely a 
bad idea to alter its nature fundamentally. But a higher-level 
representation could abstract the details of LP code organization away from 
the user and present a face that supports more musical editing 
capabilities. That's a massive job, of course, but it would also not break 
backward compatibility with existing LP projects.


I'm influenced here by my experience with LaTeX, which I use almost 
exclusively by way of Emacs's org-mode [1]. In org, I make outlines where 
the outline entries are sections or subsections (or Beamer frames), with 
free text and itemized lists inside. Org markup is lighter and friendlier 
than raw LaTeX: *bold* instead of \textbf{bold}, e.g., so I get the 
advantage of improved readability while editing without losing LaTeX's 
superior typesetting. The org exporter converts the outline tree into LaTeX 
and automatically runs the LaTeX executable of your choice. I need to write 
raw LaTeX only for customizing, and a couple of corner cases that org 
doesn't handle easily. It's expletive deleted GREAT!!


For LP, this is pie-in-the-sky dreaming -- I haven't the time or the 
immediate need. And GridLY may supply some of this -- I'm quite interested 
and I'll take a look for my next project. But I think there's no harm in 
admitting that LP is not ideally suited to many practical needs, and 
imagining that abstraction (rather than extension of the core language) is 
a valid solution.


hjh

[1] http://orgmode.org

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Re: Do we really offer the future?

[James Harkins]

On April 22, 2015 12:30:18 PM Shane Brandes sh...@grayskies.net wrote:


Lilypond is not a terribly great tool for composition purposes. Not
that I don't use it for that but when I do the whole piece is already
in my head and I am not usually prone to making large changes in
structure. As  noted previously that tends to be a cumbersome process.
Also somewhat cumbersome is adding agogic marks with any rapidity. But
despite these deficiencies, I would not go to another software unless
it demonstrated a truly superior output coupled with a openly
accessible files format.


For myself, I make much the same calculation. But, one subject of this 
conversation is why more people aren't adopting LP, and one reason is 
exactly that it's hard to use as a composition tool.


Even after a few years of using LP, it's still kind of a mindf... erm, 
mind-blower that notes appear close together in the score but they may be 
written in widely separated locations in the LP code. I'm used to 
programming and it's slightly bizarre even to me. For a musician who just 
wants to lay out a nice string arrangement, viola bar 37 is on line 254, 
but cello bar 37 is on line 401??? What I'm saying is not just about 
usability. It's that LP's input structure goes against the way music lives 
in our heads -- meaning that LP's user base can include only those who are 
willing to adapt to an unfamiliar way of thinking for the sake of the 
better output.


hjh


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http://www.aqua-mail.com





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Defining custom fretboards

[James Worlton]

Hello,

I am doing work for a client involving fretboard diagrams. He does not 
like that the default barred chords show the dots in between the 
outermost strings involved.


Is there a way to turn off the dots in the middle of a barred fret? I 
can do it when I create a fretboard markup diagram. What I would like to 
do is be able to define this in an alternate fret table as described here:

http://lsr.di.unimi.it/LSR/Item?id=810

In defining the new fretboard I tried removing the string definition all 
together (works in markup freboards), and tried setting the string to 
1-0 to remove the dot, all to no avail. Below is code illustrating 
what I mean.


Thanks!
James Worlton

\version 2.19.18

#(define custom-fretboard-table-one (make-fretboard-table))
\storePredefinedDiagram #custom-fretboard-table-one
\chordmode{f}
#guitar-tuning
1-1-(;3-3;3-4;2-2;1-0;1-1-); % the 1-0 on the 2nd string doesn't 
remove the dot


names = {
  \chordmode {
\set predefinedDiagramTable = #custom-fretboard-table-one
f1
  }
}

fmajorchord = ^\markup { \fret-diagram #c:6-1-1;6-1;5-3;4-3;3-2;1-1; }

\score {
  
\new ChordNames { \names }
\new FretBoards { \names }
\new Staff { f'1 }
\new Dynamics { s1^how I want it: \fmajorchord }
  
}

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Re: Do we really offer the future?

[James Harkins]

It's a bit of a side topic, but the the thread has touched on
questions of usability, so I think it's related.

I think there's one command in Finale that demonstrates a major obstacle to
widespread adoption of LilyPond: Delete Measure Stack. This is an extremely
common need when editing scores, and raw LilyPond code offers no clean,
easy way to do it.

LP input is structured horizontally, around voices flowing forward in
time. Meanwhile, composers think in terms of chunks of time whose
arrangement is vertical. (I don't intend this to preclude polyphonic
thinking, but even Bach must have struck a whole bar now and again.)

So how do I delete bar 47 from this LP score?

 Well, first you go to your global variable holding rehearsal marks,
tempo marks, special barlines and meter and key changes, and tweak the
number of spacer rests. Then you go into the music expressions for every
part, one by one, and delete the notes for that bar. Frescobaldi's
point-and-click can help you with that, but it doesn't automate the process.

Umm... In Finale, all that takes half a second.

We try to explain this away by saying that LP is an engraving tool,
not a composition tool, but -- if we're really serious about making LP
more attractive to the average user of notation software, this is
too glib. People writing music simply don't think of musical
simultaneity in the same terms that LP does. It *does* take effort to
adapt one's thinking to LP's way, and we shouldn't try to convince
ourselves that this isn't off-putting.

I don't see a way, with LP input as currently defined, to handle this
requirement cleanly. If the LP community were to decide that it's
important, as a way to attract users, I think it would call for a
higher-level musical representation that generates LP code. Denemo is a
step in this direction, though I'm not in a position to evaluate it as I
haven't used it.

Don't get me wrong -- I think LP's rendering engine is amazing, and for me,
it *is* worth the effort to shoehorn my music into LP's format if it means
I can use this fantastic engine. But I can't pretend it isn't any effort,
either.

hjh


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Re: Defining custom fretboards

[James]

Thanks, Carl. This does what I'm looking for. Is this in the documentation? I 
couldn't (and still can't) find it.

James Worlton

On Apr 21, 2015, at 17:17 , Carl Sorensen wrote:

 
 
 On 4/21/15 1:38 PM, James Worlton jworl...@gmail.com wrote:
 
 Hello,
 
 I am doing work for a client involving fretboard diagrams. He does not
 like that the default barred chords show the dots in between the
 outermost strings involved.
 
 Is there a way to turn off the dots in the middle of a barred fret?
 
 Predefined fret diagrams use either the fret-diagram-terse format or the
 fret-diagram-verbose format.  So if the terse format doesn't work, go for
 verbose:
 
 
 
 \version 2.19.15
 
 #(define custom-fretboard-table-one (make-fretboard-table))
 \storePredefinedDiagram #custom-fretboard-table-one
  \chordmode{f}
  #guitar-tuning
  #'(
  (barre 1 6 1)
  (place-fret 5 3 3)
  (place-fret 4 3 4)
  (place-fret 3 2 2)
  (place-fret 6 1 1)
  (place-fret 1 1 1))
 
 names = {
   \chordmode {
 \set predefinedDiagramTable = #custom-fretboard-table-one
 f1
   }
 }
 
 fmajorchord = ^\markup { \fret-diagram #c:6-1-1;6-1;5-3;4-3;3-2;1-1; }
 
 \score {
   
 \new ChordNames { \names }
 \new FretBoards { \names }
 \new Staff { f'1 }
 \new Dynamics { s1^how I want it: \fmajorchord }
 
 }
 
 
 
 
 
 Your markup worked because it uses the fret-diagram format, which the
 predefined fretboard diagrams can't use.
 
 HTH,
 
 Carl
 


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ChordNames vs. \numericTimeSignature: used to be OK, not now

[James Harkins]

*sigh* Most of the time, LilyPond is amazing. Other times...

I have an old document, a lead sheet, following basically the form an excerpt 
[A]. This prints out as I would expect: a single staff with melody, lyrics 
below and chord names above the staff.

I have a new document, following almost exactly the same form, where LP insists 
on printing an extraneous clef and time signature for the chord names context. 
I can get this second document to print correctly by removing 
\numericTimeSignature from the global variable, and moving it into the staff 
proper.

What I don't understand is -- why does [A] work perfectly well, even though the 
chord names context includes \numericTimeSignature I've tried to replicate 
the exact structure in the older document, and I simply can't break it. And I 
can't make the new document behave like the old one.

See [B] for minimal examples.

hjh


[A]

global = {
  \key f \major
  \numericTimeSignature
  \time 4/4
  \tempo Swing 4 = 154
}

\score {
  
\new ChordNames {
  \global
  \chordsVerse etc. etc.
}
\new Staff 
  \global
  {
\notesVerseOne etc. etc.
  }
  \addlyrics { etc. etc. }

  
}

[B]
\version 2.18.2
\language english

globalBroken = { \numericTimeSignature \key f \major }

globalOK = { \key f \major }

changes = \chordmode { f2 d2:m7 g2:m7 c2:7 }

\score {
  \new ChordNames  \globalBroken \changes 
}

\score {
  \new ChordNames  \globalOK \changes 
}

\score {
  \new ChordNames { \globalBroken \changes }
}

\score { 
  \new ChordNames { \globalBroken \changes }
  \new Staff { \globalBroken R1*2 }
 }

\score { 
  \new ChordNames { \globalOK \changes }
% but I don't want a C time sig
% and I don't want two global variables
  \new Staff { \globalOK R1*2 }
 }

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Re: Jianpu Notation

[James Harkins]

Super-User david290 at qq.com writes:

 I am a Java developer and music amateur from China who is familiar
 with both 5-staff notation and Jianpu (aka numberic) notation used for
 all pitched Chinese instruments. I have seen post discussed about
 displaying Jianpu notation in Lilypond years ago, and would like to
 help developing implementation of it. Recently, I have tried to
 implement a small subset of Jianpu on Lilypond, in ugly programming
 style, as attached in this email. I would like to hear more from the
 Lilypond community about how to implement the Jianpu support better.

Hi,

Nice to see work resuming on this :)

Are you aware of Silas Brown's jianpu-ly python script?

http://people.ds.cam.ac.uk/ssb22/mwrhome/jianpu-ly.html

It defines a syntax for (what appears to be) a fairly large subset of
jianpu notation. The python script produces (ugly) LilyPond code to
render the jianpu. That code can be pasted into bigger scores, where it
prints nicely alongside Western notation.

One thing that it doesn't handle -- and this was a pretty serious
limitation when I tried to use it in a project -- is grace notes. If
you started with his work and added grace notes, you would be very far
along the way.

I'm working in Guangzhou, by the way.

hjh



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Re: Survey: Large scores

[James Worlton]

On Thu, Apr 16, 2015 at 12:55 PM, Urs Liska u...@openlilylib.org wrote:



 Am 16.04.2015 um 19:42 schrieb H. S. Teoh:

 On Thu, Apr 16, 2015 at 07:43:38PM +0200, Urs Liska wrote:

 Hey all,

 this is not related to the discussion about the recently improved
 processing speed, although it may sound related:
 I'd like to have an idea how many people have already or are regularly
 dealing with big scores, and maybe I'd like to know what might be
 the biggest score anyone has successfully created with LilyPond.

 [...]

 What's your definition of a big score?


 Well, actually that depends on the results of the survey, I guess ...

 Basically I'd be interested in an estimate if there are practical
 limitations where one would be better off skipping a commission because
 LilyPond would be at its limit.

 Urs


I just finished the LilyPond version of my The Etiquette of Ice, which is
3 movements, 17-18 minutes performance time, 6 musicians (including a
soprano, so it involved text), and 47 pages of score. This is the longest
page-count project I've completed.

James Worlton
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Re: Using lilypond examples in an essay or text document

[James Harkins]

Org-mode is a pretty remarkable way to do this. You can embed LilyPond source 
code directly into the document's markup. Then, when you export to LaTeX, it 
can compile the LP snippets automatically and insert them into the result.

 begin sample org file
#+PROPERTY: header-args:lilypond :prologue \header{tagline=##f}

#+TITLE: Org-mode, LaTeX, LilyPond
#+DATE: 2015-04-05 Sun
#+AUTHOR: James Harkins

#+LATEX_CLASS: article
#+DATE: \today

If you're into What You See Is What You Mean, org-mode supports LilyPond code 
blocks:

#+BEGIN_SRC lilypond :file demo.eps :exports results
\relative c' { c4 e g e f d b g }
#+END_SRC

And even automatically trims the result!
 end sample org file

The main drawback is that it's ideal for people who already use Emacs, but if 
you don't use Emacs, then you would have to learn Emacs.

hjh



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Re: GridLine appearance

[James Worlton]

Thank you, Pierre. This looks like it will work!

James W

On Fri, Apr 3, 2015 at 3:09 AM, Pierre Perol-Schneider 
pierre.schneider.pa...@gmail.com wrote:

 Hi James,

 I'm not sure about that advantages of using grid lines.
 How about something like:

 \version 2.19.17

 musicA = {
   c'4 c' c' c'
 }

 musicB = {
   b4 b b c'''
 }

 verticalLine = ^\markup {
   %% to cross staves simply add:
   \with-dimensions #'(0 . 0) #'(0 . 0)
   \center-column {
 \arrow-head #Y #UP ##t
 \draw-dashed-line #'(0 . 10)
   }
 }

 myArrow = #(define-music-function (parser location arg-arrow) (number?)
  #{
-\markup {
   %% to cross staves simply add:
   \with-dimensions #'(0 . 0) #'(0 . 0)
   \center-column {
 \arrow-head #Y #UP ##t
 \draw-dashed-line #`(0 . ,arg-arrow)
   }
 }
  #})

 myGridLines = {
   s4\verticalLine s s s\verticalLine
 }

 myGridLinesBis = {
   s4^\myArrow 10 s s s^\myArrow 7
 }

 
   \new Staff \musicA
   \new Dynamics \myGridLines
   \new Staff { s1 }
   \new Staff \musicB
 

 
   \new Staff \musicA
   \new Dynamics \myGridLinesBis
   \new Staff { s1 }
   \new Staff \musicB
 

 Hope that helps,

 Cheers,
 Pierre

 2015-04-03 4:50 GMT+02:00 James Worlton jworl...@gmail.com:

 Hello,

 In my score I have a section where I need a line from one part to cross
 other staves and point to another part. I've been able to adapt GridLine to
 appear when I need it, but I'd like to change the appearance: specifically,
 make the line dashed and add an arrow at the top. I do not need this in the
 parts, it is mainly for the conductor's reference. The parts will be cued
 another way.

 The code below combines the two possibilities I can think of and shows
 where I've gotten to. The problems are I can't figure out how to make the
 markup version NOT affect the spacing between staves, and just draw over
 the top of them; or alternatively, how to get GridLine to be dashed with an
 arrowhead on top. I'd prefer the GridLine solution, since that will stretch
 vertically with the system if necessary.

 Is this possible with GridLine? If not, is it possible with a markup?

 \version 2.19.17

 musicA = {
   c'4 c' c' c'
 }

 verticalLine = ^\markup {
   \center-column {
 \arrow-head #Y #UP ##t
 \draw-dashed-line #'(0 . 18)
   }
 }

 musicB = {
   \override Score.GridLine.extra-offset = #'(0.0 . 2.0)
   \override Score.GridLine.line = #'dashed
   \hide Score.GridLine
   b4\verticalLine b b \revert Score.GridLine.transparent b
 }

 \score {
   
 \new Staff { \musicA }
 \new Staff \with {
   \consists Grid_point_engraver
   gridInterval = #(ly:make-moment 1/4)
 } { s1 }
 \new Staff \with {
   \consists Grid_point_engraver
   gridInterval = #(ly:make-moment 1/4)
 } { \musicB }
   
   \layout {
 \context {
   \Score
   \consists Grid_line_span_engraver
   \override NoteColumn.X-offset = #-0.5
 }
   }
 }

 Thanks!
 James Worlton

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Re: GridLine appearance

[James Worlton]

And kudos to you, Abraham, for making possible the use of other fonts! My
score is using the Cadence notation font.

James W

On Fri, Apr 3, 2015 at 3:11 PM, tisimst tisimst.lilyp...@gmail.com wrote:

 Agreed! Very nice looking score. I love the flexibility of this program!
 Well done, everyone!

 - Abraham


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Re: GridLine appearance

[James Worlton]

Just to follow up: Using Pierre's myArrow and myGridLinesBis code, I am
able to produce the image in the result which is exactly what I was looking
for. Thanks again! LilyPond rocks, as do the geniuses that come up with
solutions to strange requests!

James Worlton

On Fri, Apr 3, 2015 at 7:36 AM, James Worlton jworl...@gmail.com wrote:

 Thank you, Pierre. This looks like it will work!

 James W

 On Fri, Apr 3, 2015 at 3:09 AM, Pierre Perol-Schneider 
 pierre.schneider.pa...@gmail.com wrote:

 Hi James,

 I'm not sure about that advantages of using grid lines.
 How about something like:

 \version 2.19.17

 musicA = {
   c'4 c' c' c'
 }

 musicB = {
   b4 b b c'''
 }

 verticalLine = ^\markup {
   %% to cross staves simply add:
   \with-dimensions #'(0 . 0) #'(0 . 0)
   \center-column {
 \arrow-head #Y #UP ##t
 \draw-dashed-line #'(0 . 10)
   }
 }

 myArrow = #(define-music-function (parser location arg-arrow) (number?)
  #{
-\markup {
   %% to cross staves simply add:
   \with-dimensions #'(0 . 0) #'(0 . 0)
   \center-column {
 \arrow-head #Y #UP ##t
 \draw-dashed-line #`(0 . ,arg-arrow)
   }
 }
  #})

 myGridLines = {
   s4\verticalLine s s s\verticalLine
 }

 myGridLinesBis = {
   s4^\myArrow 10 s s s^\myArrow 7
 }

 
   \new Staff \musicA
   \new Dynamics \myGridLines
   \new Staff { s1 }
   \new Staff \musicB
 

 
   \new Staff \musicA
   \new Dynamics \myGridLinesBis
   \new Staff { s1 }
   \new Staff \musicB
 

 Hope that helps,

 Cheers,
 Pierre

 2015-04-03 4:50 GMT+02:00 James Worlton jworl...@gmail.com:

 Hello,

 In my score I have a section where I need a line from one part to cross
 other staves and point to another part. I've been able to adapt GridLine to
 appear when I need it, but I'd like to change the appearance: specifically,
 make the line dashed and add an arrow at the top. I do not need this in the
 parts, it is mainly for the conductor's reference. The parts will be cued
 another way.

 The code below combines the two possibilities I can think of and shows
 where I've gotten to. The problems are I can't figure out how to make the
 markup version NOT affect the spacing between staves, and just draw over
 the top of them; or alternatively, how to get GridLine to be dashed with an
 arrowhead on top. I'd prefer the GridLine solution, since that will stretch
 vertically with the system if necessary.

 Is this possible with GridLine? If not, is it possible with a markup?

 \version 2.19.17

 musicA = {
   c'4 c' c' c'
 }

 verticalLine = ^\markup {
   \center-column {
 \arrow-head #Y #UP ##t
 \draw-dashed-line #'(0 . 18)
   }
 }

 musicB = {
   \override Score.GridLine.extra-offset = #'(0.0 . 2.0)
   \override Score.GridLine.line = #'dashed
   \hide Score.GridLine
   b4\verticalLine b b \revert Score.GridLine.transparent b
 }

 \score {
   
 \new Staff { \musicA }
 \new Staff \with {
   \consists Grid_point_engraver
   gridInterval = #(ly:make-moment 1/4)
 } { s1 }
 \new Staff \with {
   \consists Grid_point_engraver
   gridInterval = #(ly:make-moment 1/4)
 } { \musicB }
   
   \layout {
 \context {
   \Score
   \consists Grid_line_span_engraver
   \override NoteColumn.X-offset = #-0.5
 }
   }
 }

 Thanks!
 James Worlton

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GridLine appearance

[James Worlton]

Hello,

In my score I have a section where I need a line from one part to cross 
other staves and point to another part. I've been able to adapt GridLine 
to appear when I need it, but I'd like to change the appearance: 
specifically, make the line dashed and add an arrow at the top. I do not 
need this in the parts, it is mainly for the conductor's reference. The 
parts will be cued another way.


The code below combines the two possibilities I can think of and shows 
where I've gotten to. The problems are I can't figure out how to make 
the markup version NOT affect the spacing between staves, and just draw 
over the top of them; or alternatively, how to get GridLine to be dashed 
with an arrowhead on top. I'd prefer the GridLine solution, since that 
will stretch vertically with the system if necessary.


Is this possible with GridLine? If not, is it possible with a markup?

\version 2.19.17

musicA = {
  c'4 c' c' c'
}

verticalLine = ^\markup {
  \center-column {
\arrow-head #Y #UP ##t
\draw-dashed-line #'(0 . 18)
  }
}

musicB = {
  \override Score.GridLine.extra-offset = #'(0.0 . 2.0)
  \override Score.GridLine.line = #'dashed
  \hide Score.GridLine
  b4\verticalLine b b \revert Score.GridLine.transparent b
}

\score {
  
\new Staff { \musicA }
\new Staff \with {
  \consists Grid_point_engraver
  gridInterval = #(ly:make-moment 1/4)
} { s1 }
\new Staff \with {
  \consists Grid_point_engraver
  gridInterval = #(ly:make-moment 1/4)
} { \musicB }
  
  \layout {
\context {
  \Score
  \consists Grid_line_span_engraver
  \override NoteColumn.X-offset = #-0.5
}
  }
}

Thanks!
James Worlton

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Manual gotcha: beatStructure

[James Harkins]

I just got slightly confused trying to use beatStructure, and a small edit to 
the manual might help.

\version 2.18.2
\language english

five = {
  \set Timing.beatStructure = #'(3 2)
  \time 5/8
}

seven = {
  \set Timing.beatStructure = #'(3 2 2)
  \time 7/8
}

\new RhythmicStaff {
  % \set Timing.beamExceptions = #'()
  \set Timing.baseMoment = #(ly:make-moment 1/8)
  \seven b8 b b b b b b
  \five b8 b b b b
}

The 7/8 bar shows with flags, not beams.

I think it must be that the variable implicitly creates a separate voice, and 
the beatStructure applies only within the voice. Replacing Timing with 
Staff fixes it.

I don't see it mentioned in the manual that, if you \set Timing.beatStructure, 
this must be in the same context where you write the notes. The manual says 
Beam setting changes can be limited to specific contexts, but it doesn't say 
that they ARE limited to the nearest enclosing context if you follow the syntax 
in most of the examples (using Timing).

hjh



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Re: Manual gotcha: beatStructure

[James Harkins]

On March 22, 2015 12:00:05 AM Trevor Daniels t.dani...@treda.co.uk wrote:

 I think it must be that the variable implicitly creates a separate voice, 
and the beatStructure applies only within the voice.


No, that's not the reason.  The reason is that there is a separate 
beatStructure for each value of the time signature, and changes are applied 
to the time signature that is currently in force.  So \beatStructure in 
\seven amends the beat structure in the default time signature of 4/4 and 
the one in \five amends the beat structure in the then current 7/8, which 
for the short example you give fools you by looking correct.


So reverse the ordering of the \time and the \Timing.beatStructure commands 
and it will do what you expect.


OK, I understand. Thanks for clarifying. I think it's worth mentioning in 
the manual.


Re: Mark's comment about checking the examples -- I've found in the 
SuperCollider community (where much of the documentation is by example 
with spotty, if any, explanatory text) that users are endlessly creative in 
drawing the wrong conclusion about the concepts that an example is supposed 
to show. I've been similarly creative here. ;-p


hjh

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[OT] We need LilyPond office space...

[James Harkins]

... if only so that Brian Ferneyhough can visit:

http://www.finalemusic.com/blog/brian-ferneyhough-visits-makemusic/

I can take the rhythmic notation and, using OpenMusic Syntax, port it to 
Finale. I clean it up in Finale...

That last one... I think there's a step that we can make less painful. Hmph.

hjh



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Re: staffSize music function unreliable at LP v2.19.16

[James Worlton]

I should add that the original code was missing a right closing brace after
\staffSize #2 to close off the \with block.

James Worlton

On Tue, Mar 3, 2015 at 9:19 AM, James Worlton jworl...@gmail.com wrote:

 On Tue, Mar 3, 2015 at 8:37 AM, Cynthia Karl pck...@mac.com wrote:

 The following snippet:

 \version 2.19.15

 staffSize = #(define-music-function (parser location new-size) (number?)
 #{
   \set fontSize = #new-size
   \override StaffSymbol #'staff-space = #(magstep new-size)
   \override StaffSymbol #'thickness   = #(magstep new-size)
 #})

 Ab = \relative c' { f4 g a b  }

 \score {
 \new Staff  \with { \staffSize #2  { \Ab }
 \layout { }
 }

 produces at LP v2.19.15:


 but at LP v2.19.16 produces:


 Besides being wrong (see, e.g., Behind Bars by Elaine Gould, p.13),
 this causes many scores to require an additional page.

 Applying convert-ly to the above snippet changes only the \version number.

 I tried all values for new-size between -8 and +8; the only ones that
 failed were -4 and 2.

 (The staffSize music-function was kindly contributed by Eluze in 2013 on
 this list to overcome limitations of layout-set-staff-size.)


 I have been able to reproduce the problem on Windows 7 with Frescobaldi
 2.17.2.

 Additionally I found that sizes of 2.1, 1.4, 1.1, 0.7, 0.5, -0.2, -0.3,
 -0.6, -1.3, -1.4, -2.1 also created the down stem on the F. (I only tested
 2.1 to -2.1).

 James Worlton



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