Re: Frescobaldi?

[N. Andrew Walsh]

> I understood that. I was responding in particular to Jean’s comment
>
> > NB: I don't own a macOS machine, which of course makes all testing very
> difficult
>
> but also offering the hardware for use in whatever way it might be helpful
> (e.g., compilation, not just testing).
>
> Cheers,
> Kieren.
> __
>
ah, whoops, my mistake. I missed the context. Sorry about that.

N. Andrew Walsh
er/ihn/ihm/sein | he/him/his
Berlin

Re: Frescobaldi?

[N. Andrew Walsh]

Hi Kieren,

unfortunately, as I noted above, the problem seems to be that frescobaldi
depends on a now-deprecated version of qtwebengine, and without updating it
we'll eventually reach a point where it no longer runs. I looked into this
because qtwebengine-5.15 failed to compile on my machine this morning, so
I'm worried we're already approaching EOL on it.

Jean: I have a colleague who does UI work and is "fairly" capable of
dealing with python and Qt dependencies. Can you give me a brief (but as
technical as it needs to be for a specialist to understand the issue)
summary of where the sticking points are?

Cheers,

N. Andrew Walsh
er/ihn/ihm/sein | he/him/his
Berlin


On Sun, Apr 28, 2024 at 4:08 PM Kieren MacMillan <
kie...@kierenmacmillan.info> wrote:

> Hi all,
>
> >> If there is busy work that needs to be done on the project, I can do
> that, but I also don't own a Mac.
>
> I own a bunch of Macs. In fact, right here in my studio I have two
> late-2014 Mac Minis with fresh Monterey installs which are completely
> unused. I also have a *really* excellent [fibre] internet connection — it
> usually hovers near 900Mbps up and down (though right now it’s only at
> 200Mbps for some reason?!) — and I’m happy to put a machine on a DMZ for
> external access.
>
> Is there anything, non-programming-wise, I can do to help the cause?
>
> Cheers,
> Kieren.
> __
>
> My work day may look different than your work day. Please do not feel
> obligated to read or respond to this email outside of your normal working
> hours.
>
>

Frescobaldi?

[N. Andrew Walsh]

Hi List,

Doing some system updates today, I see that frescobaldi is the only program
that requires PyQtWebEngine:5, which in turn requires qtwebengine:5.
Looking at the frescobaldi page, I see a somewhat concerning note that the
project is on the verge of being unmaintained, due to this dependency on a
deprecated version of qtwebengine.

Is there any further information on this? I don't see any other IDE that
works as well as frescobaldi for editing lilypond files, and I'm a bit
worried that there hasn't been an update to the program in over a year. Any
news would be appreciated.

Cheers,

N. Andrew Walsh
er/ihn/ihm/sein | he/him/his
Berlin

Re: using partcombine with different clefs, repeats, text

[N. Andrew Walsh]

PS - you know what? I'm sorry: I'm making this guy's work much more
complicated than it needs to be. This is really just a song for single
voice and piano; I'll notate it that way and leave it to him to work out
with the performers who sings which verse in which language. Sorry for the
trouble!

A
er/ihn/ihm/sein | he/him/his
Berlin


On Sun, Nov 12, 2023 at 10:30 AM N. Andrew Walsh 
wrote:

> Hi List,
>
> sigh … here we go again. I apologize in advance for my client, a hobbyist
> composer who thinks entirely in terms of cutting and pasting, moving things
> around manually, and not in terms of how to notate anything clearly. Here
> goes:
>
> He has a song for soprano, baritone, and piano. The song has four verses,
> alternating between the two voices (the baritone, weirdly, needs to read a
> treble clef, so I'm using treble_8 for him). However, he wants to repeat
> the entire song (ie, enclose the four verses in a '\repeat volta {}'
> expression), *but* he wants the voices to alternate verses, and the second
> time through to sing the text in English (first time through is in German;
> he's in his "Schubert phase."). He wants both voices on a single line.
>
> So I *could* notate the baritone in the wrong octave and just use the same
> music for both repeats, but that still leaves me the problem of what to do
> with the text. And I don't see a good way to do this without having a lot
> of explanatory text for each verse. This also leaves me the problem of how
> this is supposed to look in the parts.
>
> Do any of you have suggestions for how I might format this so there isn't
> a lot of explanatory text cluttering up the score?
>
> Thanks for the help,
>
> N. Andrew Walsh, PhD, Dr. phil.
> Komponist, Musikwissenschaftler | Composer, Musicologist
> er/ihn/ihm/sein | he/him/his
> Berlin
>

using partcombine with different clefs, repeats, text

[N. Andrew Walsh]

Hi List,

sigh … here we go again. I apologize in advance for my client, a hobbyist
composer who thinks entirely in terms of cutting and pasting, moving things
around manually, and not in terms of how to notate anything clearly. Here
goes:

He has a song for soprano, baritone, and piano. The song has four verses,
alternating between the two voices (the baritone, weirdly, needs to read a
treble clef, so I'm using treble_8 for him). However, he wants to repeat
the entire song (ie, enclose the four verses in a '\repeat volta {}'
expression), *but* he wants the voices to alternate verses, and the second
time through to sing the text in English (first time through is in German;
he's in his "Schubert phase."). He wants both voices on a single line.

So I *could* notate the baritone in the wrong octave and just use the same
music for both repeats, but that still leaves me the problem of what to do
with the text. And I don't see a good way to do this without having a lot
of explanatory text for each verse. This also leaves me the problem of how
this is supposed to look in the parts.

Do any of you have suggestions for how I might format this so there isn't a
lot of explanatory text cluttering up the score?

Thanks for the help,

N. Andrew Walsh, PhD, Dr. phil.
Komponist, Musikwissenschaftler | Composer, Musicologist
er/ihn/ihm/sein | he/him/his
Berlin

Re: Score structure with alternate endings

[N. Andrew Walsh]

Hi Michael,

heh, I guess I've gotten so used to keeping my key signature in a separate
voice it never occurred to me I could change keys at the level of
individual voices.

Thanks again,

Andrew
er/ihn/ihm/sein | he/him/his
Berlin


On Thu, Nov 2, 2023 at 4:18 PM Michael Werner  wrote:

> On Thu, Nov 2, 2023 at 9:43 AM N. Andrew Walsh 
> wrote:
>
>> Another question: is it possible to set the key signature for the two
>> "alternate" sections to be different? I know I can hide one, but is it
>> possible for different voices to have/display key signatures that are
>> independent of one another?
>>
>
> Sure can, as long as each one is in its own staff. (As in, if there are
> multiple voices sharing one staff they each have to be in the same key.)
> You can either set the key signature at the staff level, or you can do it
> at the voice level.  I prefer to put the key in with the music, something
> like:
>
> music = \relative c' {
> \key c \major
> c4 d e f
> }
>
> This way, the key information is carried along with the music.  You can
> also put the time signature and the tempo into the music variable as well,
> if you wish.  That way if you want / need to reuse the music the
> information is there already.  Much of the music I deal with I'm reusing
> the same music variable in multiple scores, each formatting the music
> differently for different instruments.  But since the music itself is
> already in a variable, reusing it like that is easy.  But that's my (rather
> peculiar) individual situation and needs.  Others most certainly do things
> differently.  It'll take time and a bunch of trial and error to figure out
> what you need for whatever you're doing.  And then more time and more trial
> and error to figure out how best to go about it.  It's a learning process.
> --
> Michael
>
>

Re: Score structure with alternate endings

[N. Andrew Walsh]

Hi Michael,

excellent, I'll have a look at that. Another question: is it possible to
set the key signature for the two "alternate" sections to be different? I
know I can hide one, but is it possible for different voices to
have/display key signatures that are independent of one another?

Cheers,

Andrew
er/ihn/ihm/sein | he/him/his
Berlin


On Thu, Nov 2, 2023 at 1:30 PM Michael Werner  wrote:

> On Thu, Nov 2, 2023 at 7:11 AM N. Andrew Walsh 
> wrote:
>
>> One question: you add some extra padding between the two variants with an
>> \override; is there a way to do the same thing for modifying the padding
>> between two PianoStaff groups (but not change the staff-staff spacing
>> within each of them)?
>>
>
> Absolutely. Just one catch - it has to be done differently.  For all the
> gory details, I'm going to suggest you have a look through chapter 4 of the
> Notation Reference, titled simply Spacing issues.  It's at
> http://lilypond.org/doc/v2.25/Documentation/notation/spacing-issues
> There's a lot in there, but the main thing to recognize and be aware of is
> that different spacing settings get set in different places. Some can go in
> a few different places (such as the staff-staff padding I added in the
> example code), while others can only go in the paper block. And as it
> happens, the setting you are asking about is one that has to go into the
> paper block.  If you already have a paper block (for example setting
> margins or indents, that kind of thing) you can just add this in. But
> basically what you'll need is something along the lines of:
>
> \paper {
>   system-system-spacing.padding = #15
> }
>
> Here, system-system-spacing is the setting you want.  And each setting has
> sub-settings - basic-distance, minimum-distance, padding, and
> stretchability.  The docs I linked to above have all the details on what
> each of those mean and how to go about changing them.  The number is the
> space measured in staff spaces.  It'll probably take a bit of trial and
> error to find the spacing you want, but it should be fairly straight
> forward.
> --
> Michael
>
>

Re: Score structure with alternate endings

[N. Andrew Walsh]

Hi Michael,

thank you so much for taking the time to write out an example. I was able
to modify it to work for two PianoStaff objects. One question: you add some
extra padding between the two variants with an \override; is there a way to
do the same thing for modifying the padding between two PianoStaff groups
(but not change the staff-staff spacing within each of them)?

Thanks again!

Andrew
er/ihn/ihm/sein | he/him/his
Berlin


On Wed, Nov 1, 2023 at 4:51 PM Michael Werner  wrote:

> On Wed, Nov 1, 2023 at 10:59 AM N. Andrew Walsh 
> wrote:
>
>> Hi List,
>>
>
> Hi Andrew,
>
>
>> I have a client who's written a piece where he wants the last 16 bars to
>> have two different variations, to be freely chosen by the performer. Sort
>> of a choose-your-own-adventure score. It's scored for two voices and piano,
>> but the ending(s) would only be the piano.
>>
>> So, grossly simplified, the score would have bars 1-53 as normal music,
>> and then the performer adds a coda of either "A" or "B", each of which is a
>> 16-bar section of one of the two variations. The bar numbers should be the
>> same.
>>
>> How would I structure the score to do this? I'm thinking it'd be
>> preferable to have the two variations on the top and bottom of each page,
>> so that it's clear they're parallel, but I'm not sure how to set it up.
>>
>
> Well, like many things with Lilypond I'm sure there's more than one way to
> do things. My take on this would be something like this:
>
> \version "2.25.9"
>
> length_of_main = #8
> length_of_alt = #4
>
> music_main = \relative c' {
>   \repeat unfold \length_of_main { a4 b c d }
>   %\break
>   \repeat unfold \length_of_alt { s1 }
> }
>
> music_a = \relative c' {
>   \repeat unfold \length_of_main { s1 }
>   \break
>   \sectionLabel \markup { \bold "A or B - pick one!" }
>   \repeat unfold \length_of_alt { c4 b a b }
> }
>
> music_b = \relative c' {
>   \repeat unfold \length_of_main { s1 }
>   \repeat unfold \length_of_alt { e4 d c d }
> }
>
> \new StaffGroup
> <<
>   \new Staff \with {
> instrumentName = "Main"
> shortInstrumentName = "Main"
> \RemoveAllEmptyStaves
>   } \music_main
>   \new Staff \with {
> instrumentName = "A"
> shortInstrumentName = "A"
> \RemoveAllEmptyStaves
> \override VerticalAxisGroup.staff-staff-spacing.padding = #8
>   } \music_a
>   \new Staff \with {
> instrumentName = "B"
> shortInstrumentName = "B"
> \RemoveAllEmptyStaves
>   } \music_b
> >>
>
> Here, music_main is the first part of the music running along by itself,
> with music_a and music_b the two possible alternates. The main thing will
> be to watch the spacer rests at the beginning of music_a and music_b - they
> need to be the right number of measures worth. By using the variables in
> the unfold statement I find it a bit easier to keep track and make sure the
> right numbers are getting where they need to be. Also I've added some extra
> space between the two alternates, might reinforce that they're only sorta
> kinda together but not really.
>
> Don't know if this is quite what you're after, but maybe it'll at least
> serve as a starting point.
> --
> Michael
>
>

Score structure with alternate endings

[N. Andrew Walsh]

Hi List,

I have a client who's written a piece where he wants the last 16 bars to
have two different variations, to be freely chosen by the performer. Sort
of a choose-your-own-adventure score. It's scored for two voices and piano,
but the ending(s) would only be the piano.

So, grossly simplified, the score would have bars 1-53 as normal music, and
then the performer adds a coda of either "A" or "B", each of which is a
16-bar section of one of the two variations. The bar numbers should be the
same.

How would I structure the score to do this? I'm thinking it'd be preferable
to have the two variations on the top and bottom of each page, so that it's
clear they're parallel, but I'm not sure how to set it up.

Thanks for the help!

Andrew
er/ihn/ihm/sein | he/him/his
Berlin

Re: Beams over rests

[N. Andrew Walsh]

Hi Paul,

I'm sure you know of the override pair:

\override Stem.stemlet-length = #0.5
\override Stem.details.beamed-lengths = #'(4.75)
( music with beamed rests here )
\revert Stem.stemlet-length
\revert Stem.details.beamed-lengths

I'm not aware of any way to set this globally. Well, the first one can be
set once. You'll still have to use "[" and "]" to force beaming, and you
should, for the sake of Best Practices™, set the stemlet length manually
for each one.

But this is the way I've had to do it; and while it's tedious to do that
for every affected beam, it ensures that they look good and work properly.

Cheers,

A

On Tue, Sep 28, 2021 at 11:08 AM Paul Hodges  wrote:

> The composer I'm working on is very fond of having beams over rests -
> and indeed it helps a lot in reading his more complex rhythms.  However,
> LilyPond is treating rests differently from notes, in that beam
> positions are adjusted to suit the notes, whereas rests are then
> adjusted to suit the beams.  So I get this kind of layout:
> However, the publisher wants rests to remain in their standard position,
> like this:
>
> with occasional compromises to this extent:
>
>
> I can obviously force this in individual cases, but again, is there a
> global adjustment I can make to get nearer to what I'm being asked for?
>
> Thanks,
> Paul

Re: Stems for rests under quaver beam

[N. Andrew Walsh]

Hi Paul,

This is fairly common in new music. I've found the most consistent way to
get it to look good is by using overrides. Here's how I code it:

-
\override Stem.stemlet-length = #0.5
\override Stem.details.beamed-lengths = #'(4.75)
f16->[ f r f] f-> f f f
\revert Stem.stemlet-length
\revert Stem.details.beamed-lengths
---

You can adjust the beamed length to whatever value you prefer to keep the
rest centered on the stave vertically. You don't need to revert the
overrides until you're done with the stemlets.

It's a bit tedious to do this for every beamed group, but it gives you fine
control over exactly how they look.

Cheers,

A

On Sun, Aug 22, 2021 at 11:41 AM Paul Hodges  wrote:

> I have been asked to set a modern piece for Flute, and it has some
> elements which are new to me, and which I have been unable to find a way
> to present.  The first of these is that the composer regularly writes
> rests within (or at the ends of) groups of quavers beamed together.
> Using manual beaming it is easy to get the beams to extend over the
> rests as required; however, in the manuscript (and in a printed copy of
> some other music of his) there is a stub stem from the beam towards the
> rest.
>
> I suppose I can draw this as an individual markup on each occasion, but
> doing this for dozens of cases is daunting, and I wonder if anyone can
> suggest a more practical approach?
>
> Thanks for any ideas!
> Paul
>
>

Re: Question about Lilypond and meterless/free time music

[N. Andrew Walsh]

Hello Ariel,

please also see the section in the Notation Reference regarding writing
cadenzas and other unmetered music:
https://lilypond.org/doc/v2.23/Documentation/notation/displaying-rhythms#unmetered-music
.

You could just treat this passage as a sort of cadenza, and control the
barlines manually.

As for applying a tick at exact *temporal* intervals, that's outside of my
competence.

Sincerely,

A

On Sat, Jul 31, 2021 at 4:29 PM  wrote:

> Hello !
>
> I have a question about whether Lilypond can manage a certain type of
> notation.
>
> I happen to love a lot of music that is completely free time/ad
> libitum/rubatto/recitativoso I am curious about different ways to
> notate music that has no rythmic pattern, no concept of measures, beats.
>
> I recently found in a book this transcription of a lute solo ( see the
> attachment), where instead of measure bars the pentagram has marks
> indicating seconds into the recording. it reminds me a bit of an old piano
> scroll. The horizontal axis is in time, not measures.
>
> My question is can I make a score like that using Lilypond ?
>
> thanks,
>
> Ariel//
>

Forcing display of a time signature

[N. Andrew Walsh]

Hi List,

I have the following:


\version "2.20.0"

textStencil =
#(define-music-function
   (grob text)
   (key-list? markup?)
   #{ \override #grob . stencil = #ly:text-interface::print
  \override #grob . text = #text #})

timeStencil = \textStencil Staff.TimeSignature \etc

{
   \once \timeStencil \markup \compound-meter #'(0 0)
   \time 3/2
   | a'2 b'4. a'8 g'4 g'
   \time 5/4
   | a'4 b'4. c''8 b' a' b'4
   \time 6/8
   | a'8 g' fis' gis'4. \bar "|."
}


Let us say that I want to have several measures with the "0/0" time
signature, while other instruments are playing in metered 3/2. At some
point, I want to return the unmetered voice to the metered 3/2 the rest are
playing, and thus want to display the time signature at that point *for
that instrument only*. Is there a way to force (re-)displaying a time
signature in one Staff, without invoking the \time command and displaying
it for all voices?

Thanks for the help,

A

Re: creating "null" time signature for unmetered cadenzas

[N. Andrew Walsh]

Hi Pierre,

On Sun, Oct 4, 2020 at 1:04 PM Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

> Hi Andrew,
> How about:
>
> \version "2.20.0"
> {
>   \time 6/1
>   \override Staff.TimeSignature.stencil = #(lambda (grob)
> (grob-interpret-markup grob #{ \markup\compound-meter #'(0 0) #}))
>   c'4
> }
>
>>
That did the trick! Many thanks.

A

creating "null" time signature for unmetered cadenzas

[N. Andrew Walsh]

Hi List,

I have a piece (not mine) for solo violin, with multiple sections of
effectively unmetered music (into which the client wants to draw free
"graphic" figures, thus requiring empty space). I don't want to show the
time signature I'm using to create the empty space (they're usually
something like "\time 6/1"), but I still want to give the musician an
indication that the passage is unmetered.

In my own scores, I usually indicate this with a time signature with zeros:
i.e., something like "\time 0/0".

Is there a way to *display* that as a time signature, while leaving the
*actual* time signature hidden in the printed score?

Thanks,

A

Re: compressing full-bar rests

[N. Andrew Walsh]

Hi Aaron,

On Mon, Sep 28, 2020 at 11:34 AM Aaron Hill 
wrote:

>
> See [1] and [2].  It's \compressEmptyMeasures now.


That was it! Thank you. I wonder why that doesn't show up in the
auto-complete popup.

Cheers,

A

Re: compressing full-bar rests

[N. Andrew Walsh]

Hi Francesco,

On Mon, Sep 28, 2020 at 11:20 AM Francesco Intrieri <
francesco.intrieri...@gmail.com> wrote:

> Hi Andrew !
>
> Is it possible that you forgot to write \compressFullBarRests before R2*12
> ?
>

When I do that, I get an error about an "unrecognized escape string" (even
though it comes up in the auto-complete popup).

Is there something wrong specifically with 2.21.1, that it doesn't
recognize full-bar-rest compression?

Cheers,

A

compressing full-bar rests

[N. Andrew Walsh]

Hi List,

I have a general question. Has compression of full-bar rests been somehow
disabled? I have the following score:

\version "2.21.1"

global= {
 \time 4/8
  }
%% (and whatever other settings I want)

oDAMusic =  \relative c'' {
\key f \minor
R2*12

| %13
r4 bes
}
\score {
\new Staff = "Staff_oboeDA" <<
  \global \oDAMusic
>>
}

-
The 'R2*12' statement used to compress down into a multi-measure rest, but
now it's writing them all out. Is this a bug of some sort?

Thanks for the help,

A

Re: 2.21.3 and Frescobaldi and documentation

[N. Andrew Walsh]

Hi List,

I also notice that the HTML interface for the Notation Reference (here:
http://lilypond.org/doc/v2.21/Documentation/notation/index.html) seems
almost completely broken. It's no longer split-column, and the layout is
extremely … text-y. Did something go wrong with the website?

Cheers,

A

Re: Gentoo python-poppler phaseout

[N. Andrew Walsh]

Hi Davide,

On Fri, Jan 24, 2020 at 10:32 AM Davide Liessi 
wrote:

>
> they are right: indeed python-poppler-qt5 (Python bindings for the Qt5
> frontend of poppler) does not depend on python-poppler (Python
> bindings for the glib frontend of poppler).
>
> thanks for the clarification. I'm using a custom ebuild that had
python-poppler as a dependency. Removing that dependency does not appear to
have affected compilation success, so I'll leave it in place and drop
python-poppler from my system.

Thanks for the clarification.

-A

Gentoo python-poppler phaseout

[N. Andrew Walsh]

Hi List, Hi Wilbert,

I just want to check something. According to this bug:

https://bugs.gentoo.org/706030

gentoo will be removing python-poppler from its tree. The dev there asserts
that python-poppler-qt5 does not require python-poppler, and the version in
the gentoo repo does not. Wilbert, can you let me know whether frescobaldi
explicitly requires your version of python-poppler-qt5, which in turn
requires python-poppler? Or whether I can use the version of
python-poppler-qt5 that's in the gentoo repo (currently version
-0.24.2_p20170214)? If python-poppler is still required, can you please
chime in on that bugreport?

Thanks for the help.

A

Re: transpositions within a global key setting.

[N. Andrew Walsh]

Hi Rick,

On Mon, Dec 9, 2019 at 4:54 PM Rick Kimpel  wrote:

> Andrew,
> Try this:
>

What I ended up having to do was this, inside the \score block:

\new Staff = "Staff_oboeDA" <<
  \transposition a \transpose a c << \global \oDAMusic \keyandtempo >>
>>

(\keyandtempo is another variable that contains all the key and tempo
changes, and consequently has to be within a multi-voice context with each
instrument's variable).

But that worked! Thanks! That's exactly what I needed.

Cheers,

A

transpositions within a global key setting.

[N. Andrew Walsh]

Hi List,

let us say I have a piece where I want to specify the key signature once
for all instruments. I have something like the following:

\version = 2.19.82
global= {
 \key f \minor
 \time 4/8
  }
%% (and whatever other settings I want)

oDAMusic = \transpose a c {

  \relative c''' {
\key as \minor
{{MUSIC}}
  }
}

\score {
\new Staff = "Staff_oboeDA" <<
  \global \oDAMusic
>>
}

I've omitted other variables, instrument blocks, and settings. My question
is what to do about this instrument, the oboe d'amore, which transposes.
According to the NR, here:

http://lilypond.org/doc/v2.19/Documentation/notation/changing-multiple-pitches#transpose

I would need to format the block like this to print the correct key
signature. When I do this, however, Lily throws an error about "Two
simultaneous key-change events" and that one will be junked. Score output,
however, looks fine, with the transposition and key-signature correct.

As a general question, how should I be formatting this so that I don't get
an error?

Cheers,

A

Re: Copyright, was [Re: Musicology with Lilypond (and now correct attachments ;-)]

[N. Andrew Walsh]

though I generally loathe such usage terms, wouldn't some clause in the
list's ToS to the effect that use of the list grants some nonexclusive but
unrestricted right to copy/use that material alleviate these concerns?
Those kinds of clauses are part of every online email service, for example
(since the servers make multiple copies of your message as the send/store
it), and most online services.

as usual, ianal, etc etc.

Cheers,

A

On Tue, Oct 29, 2019 at 9:05 AM Andrew Bernard 
wrote:

> You need an international copyright lawyer. This is a fraught topic.
>
> On list email, I recently set up a big sophisticated mail server to
> support GNU Mailman 3 mailing lists, and moved an archive from a previous
> list with 100,000 posts across. Extensive discussion with my colleagues in
> that project revealed that, surprising to me, it appears to be the legal
> consensus that the poster of the email owns the post and its material in a
> strong sense, and posts are not the property of the list or the list
> owner,. and that duplicating posts for archival purposes can therefore be
> in violation of various parts of copyright and intellectual property law,
> and the whole business is a nightmare. Going against this however is the
> norm that I think most members of mailing lists like my harpsichord  list
> and this lilypond list feel that their posts become 'public domain',
> meaning not subject to copyright, as the intention generally is to share
> and discuss.
>
> I am in Australia, and our copyright/IP law is different to the US, and to
> Europe, so I cant really comment any more. But this appears to be an
> infinitely deep rabbit burrow to explore.
>
> Looking at the spirit of sharing, I feel pretty sure that people who
> contribute to openlilylib, and to LSR, and who post code snippets and
> solutions here on this list intend these works to be shared and used by
> all, despite what the letter of the (internationally varying) law may be.
>
>
> Andrew
>
>

Re: \editorialMarkup correction with null value

[N. Andrew Walsh]

Hi Urs,

On Tue, Oct 15, 2019 at 4:30 PM Urs Liska  wrote:

> I can't test right now, but I'd first try with these variants
> correction { s1*0 }
> correction { <>1*0 }
> correction { {} }
>
> The first of these worked fine, but it turns out my problem wasn't exactly
that. From what I can tell, in the emendation type the 'correction'
expression requires a '\with { type = [type] }' expression before the music
expression, or else it won't work. So the emendation has a \with block, and
the correction expression within it has its own. This is some nice added
information, and I'm glad it's there, but it took me a bit to figure out
what the correct syntax was.

Anyway, it works now. Thanks again! This really is an excellent function.

Another general question: can the \choice expression work within \lyricmode
expressions?

Cheers,

A
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\editorialMarkup correction with null value

[N. Andrew Walsh]

Hi List,

I'm copying an old manuscript that has erroneously put a ten-bar rest at
the end of two voice parts. I want to use the ScholarLY interface to add an
annotation to address this in the source. From what I understand of the
documentation, the syntax is the following:
---
\choice emendation \with {
author = me
message = "erroneous ten-bar rest in source"
}{
   \editorialMarkup sic { R2*10 }
   \editorialMarkup correction {  }
}

but this doesn't work, and causes the next emendation to break as well. So
my general question is this:

is there a code in lilypond I can put into this expression that would read
as a valid music expression, but would act as a sort of empty expression
that doesn't take any rhythmic space?

Thanks for the help,

A
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Re: \partial and measure numbers

[N. Andrew Walsh]

Hi fff,


On Fri, Oct 11, 2019 at 2:25 PM foxfanfare  wrote:

>
> Hi,
>
> The traditional behavior is to not count a partial measure in the total, so
> yes it should be counted as "0". If you want to count it, you should just
> add \set Score.currentBarNumber = #2 before your first measure.
>

huh. That's odd. For some reason I always counted pickup measures as bar 1
in my scores. Far out. OK, thanks for clarifying.

Cheers,

A
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\partial and measure numbers

[N. Andrew Walsh]

Hi List,

I haven't used Lily in about a year, and I'm confused about the way it
handles the \partial command and measure numbers at the beginning of the
score.

I have the following:
-

\version "2.19.47"

music = \relative c'' {

  %1
  \partial 8 r8

  | %2
  r2 bes4 r
}
-
As I used to understand it, that first bar, with nothing but a rest, would
count as bar 1. But in my score, it's getting counted as "measure 0". Is
that expected behavior?

Cheers,

A
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Re: divisi music for one measure

[N. Andrew Walsh]

Hi Valentin, List,

now a follow-up: you see that there's a phrasing slur that begins in Bar 4
and ends on a tied note in Bar 8. How can I keep this phrasing slur where
it is, when the lyrics in both voices terminate on a note tied to that f4.
in Bar 8? I either get errors about unterminated hyphens or unterminated
phrasing slurs.

Thanks for the help,

A

On Thu, Apr 4, 2019 at 9:55 PM N. Andrew Walsh 
wrote:

> Hi Valentin,
>
> On Thu, Apr 4, 2019 at 6:10 PM Valentin Villenave 
> wrote:
>
>> On 4/4/19, N. Andrew Walsh  wrote:
>> > how do I ensure that only the lyrics in \altvocoLyricsSop get
>> > attached to it, then resume following \voceMusicSop afterwards?
>>
>> You can \set the associatedVoice property to another Voice’s name
>> whenever you want; see
>>
>> http://lilypond.org/doc/latest/Documentation/notation/common-notation-for-vocal-music#aligning-lyrics-to-a-melody
>>
>> Good luck!
>>
>
> That's exactly what I needed. Thanks so much!
>
> Cheers,
>
> A
>
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Re: divisi music for one measure

[N. Andrew Walsh]

Hi Valentin,

On Thu, Apr 4, 2019 at 6:10 PM Valentin Villenave 
wrote:

> On 4/4/19, N. Andrew Walsh  wrote:
> > how do I ensure that only the lyrics in \altvocoLyricsSop get
> > attached to it, then resume following \voceMusicSop afterwards?
>
> You can \set the associatedVoice property to another Voice’s name
> whenever you want; see
>
> http://lilypond.org/doc/latest/Documentation/notation/common-notation-for-vocal-music#aligning-lyrics-to-a-melody
>
> Good luck!
>

That's exactly what I needed. Thanks so much!

Cheers,

A
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divisi music for one measure

[N. Andrew Walsh]

Hi List,

I have the following MWE:

\version "2.19.82"

\layout {
  \context {
\Lyrics
\name AltLyrics
\alias Lyrics
\override LyricText.font-shape = #'italic
  }
  \context {
\StaffGroup
\accepts AltLyrics
  }
}

%% Doesn't do a lot, apart from avoid warnings when generating midi output
\midi {
  \context {
\Lyrics
\name AltLyrics
\alias Lyrics
  }
  \context {
\StaffGroup
\accepts AltLyrics
  }
}

voceMusicSop = \relative c'' {
  \autoBeamOff \dynamicUp  \stemUp
  \time 4/8

  % 1-3
  R2*3

  | %4
  r4 r8 f,\(

  | %5
  des'4 bes

  | %6
  f bes8 c

  | %7
  a8. f16 f4~

  | %8
  f4.\) r8
}

voceLyricsSop = \lyricmode {

  \markup { 1. Was } ist Di -- do das ganz An -- de -- re? __
}

altvoceLyricsSop = \lyricmode {

  What is, Di -- do, the whol -- ly Oth -- er? __
}
\score {

  \new Staff = "voci" <<
  \new Voice = "voceSop" <<
\voceMusicSop
  >>
  \new Lyrics = "voceLyricsSopContext" \lyricsto "voceSop" {
{ \voceLyricsSop }
  }
  \new AltLyrics \lyricsto "voceSop" {
\altvoceLyricsSop
  }
  >>
}
--
The client wants the music at Bar 6 and 7 to have different notes, but only
affecting the English lyrics. How do I do this? The \altvoceLyricsSop
contents are already attached to voceSop, and if I start a new voice at
this point, how do I ensure that only the lyrics in \altvocoLyricsSop get
attached to it, then resume following \voceMusicSop afterwards?

Thanks for the help,

A
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Re: \markup on "topmost" voice in a Frenched score?

[N. Andrew Walsh]

Hi Aaron,

On Thu, Mar 14, 2019 at 4:36 PM Aaron Hill  wrote:

>
> Seems like \mark would work.  RehearsalMarks belong to the Score and are
> by default placed above the entire system regardless of any staves.
>
>
This does seem like it wold work well. Is there a way to have a \mark that
includes both the \default command and a \markup block at the same point?
The client wants Roman-numeral rehearsal marks, but at some of them also
wants these section titles.

Thanks for the help!

A
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\markup on "topmost" voice in a Frenched score?

[N. Andrew Walsh]

Hi List,

I have a small chamber setting that includes section titles that the client
wants at the top of systems (stuff like "Interlude," "Finale," etc.). The
problem I'm having is, as this is a "Frenched" score the topmost voice
isn't always the same one. So I can't attach a \markup to a specific voice,
but I want to find a way to apply them to whichever voice happens to be at
the top of the score *at that point*.

Is there a way to do that? Is there some conditional formatting that can be
applied to achieve something like that? I imagine this would also apply to
tempo indications and other similar score instructions.

Thanks for the help,

A
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Re: weird error with \repeat tremolo

[N. Andrew Walsh]

Hi Aaron

On Wed, Mar 6, 2019 at 4:11 PM Aaron Hill  wrote:

>
> The bug would seem to be that LilyPond is not allowed to increase the
> length of a stem to accommodate StemTremolo grobs with notes that are
> beamed.  Or perhaps, it is allowed but is failing to do so.  Either way,
> the code that expects to have enough room incorrectly computes a
> degenerate interval, which eventually results in the failed assertion.
>

Not knowing a single thing about Lily's underlying code, I nevertheless
agree that it's something like this. Lily *also* does not extend stems on
un-beamed notes, leading to collisions between flags and tremolo glyphs.

Cheers,

A
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Re: weird error with \repeat tremolo

[N. Andrew Walsh]

Hi Aaron,

here's another example that causes the error:

\version "2.19.82"

\relative c'' {
  \time 4/16
  gis'32[ e c a \repeat tremolo 8 { fis64] }
}

Again, it seems related to collisions between beams and tremolo glyphs. But
here, the 32nd-notes should force the bottom beam low enough that there's
room for them, yet for whatever reason it fails anyway.

Oh well. I guess I'll just force manual beaming as a workaround for now.

Thanks for the help,

A

On Mon, Feb 25, 2019 at 12:11 PM Aaron Hill 
wrote:

> On 2019-02-25 2:15 am, Thomas Morley wrote:
> > Am Mo., 25. Feb. 2019 um 11:02 Uhr schrieb N. Andrew Walsh
> > :
> >>
> >> Hi Aaron,
> >>
> >> On Mon, Feb 25, 2019 at 10:50 AM Aaron Hill 
> >> wrote:
> >>You could try manually lengthening
> >>>
> >>> the stem to see if it helps as a possible workaround.
> >>
> >>
> >> I've gone all the way out to
> >>
> >>  \once \override Beam.positions = #'(-20 . -24)
> >>
> >> and still get the error, so I don't think tweaking stem length is
> >> going to help. Any idea what the error might be? Is there a bug
> >> report?
> >>
> >> Thanks for the help,
> >>
> >> A
> > Some discussion here:
> > https://lists.gnu.org/archive/html/bug-lilypond/2019-02/msg0.html
>
> I was so certain I had posted to the bug alias on this issue, but I
> cannot find it.  It was a pretty big write up too, testing lots of
> things.  But I am feeling like I must have dreamt it, since there's no
> trace.  :-/
>
>
> > Here another minimal:
> >
> > \relative c'' {
> >   %\voiceOne
> >   d16. d32 \repeat tremolo 4 { b32 }
> > }
> >
> > Looks like the error happens only if stems are pointing down, thus
> > above compiles fine if voiceOne is uncommented.
>
> The issue doesn't seem to be precisely stem direction.  You can trigger
> it with this:
>
> 
> \version "2.19.82"
> { a32 8..:32 }
> 
>
> If you change the note to g, then it works.  Lower notes result in a
> longer stem, which is why I had thought it might have something to do
> with stem length.
>
> But then I found that beam-thickness can affect things too:
>
> 
> \version "2.19.82"
> { \override Beam.beam-thickness = #0.488934 a32 8..:32 }
> 
>
> This fails, but change the thickness to #0.488935 or higher and it
> works.
>
> 
> \version "2.19.82"
> { \override StemTremolo.beam-thickness = #0.465801 a32 8..:32 }
> 
>
> Again, this will fail, but *lower* the thickness to #0.465800 and it
> works.
>
> -- Aaron Hill
>
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Re: Roman Numeral rehearsal marks?

[N. Andrew Walsh]

Hi Aaron

On Wed, Mar 6, 2019 at 11:51 AM Aaron Hill  wrote:

> >
> > \mark produces RehearsalMark grobs.  These are usually at the \Score
> > level, so you can either \override where you use \mark, or you can do
> > it within \layout:
> >
> > 
> > \version "2.19.82"
> > \layout { \context { \Score
> >   \override RehearsalMark.font-size = #6 % Default is #2
> > }
>

thanks for the tip! That's exactly what I was looking for!

Cheers,

A
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Re: Roman Numeral rehearsal marks?

[N. Andrew Walsh]

Hi List,

also on this issue (I still have Roman numerals, which works fine for me):
is there a way to format the size/weight of the "\mark \default" character?
Mine aren't much larger than regular text markups, and I'd like to have
some control over the presentation.

Cheers,

A

On Wed, Oct 24, 2018 at 6:48 PM N. Andrew Walsh 
wrote:

> PS- update: I figured out the problem, so now it's resolved (and in the
> process dropped an \include that was loading a whole bunch of libraries I
> turned out not to need, saving on compile time as well).
>
> Thanks again!
>
> On Wed, Oct 24, 2018 at 6:39 PM N. Andrew Walsh 
> wrote:
>
>> Hi Thomas, Ben
>>
>> for some reason, neither of your codes seem to work: I always get arabic
>> numerals in a box if I use \mark \default. I think something is overriding
>> that setting elsewhere in my config files; I'll try to track it down. The
>> MWE Ben sent works just as I want it to on its own, but not in the main
>> document. I'll have to do some digging.
>>
>> Thanks!
>>
>> A
>>
>> On Wed, Oct 24, 2018 at 5:10 PM Thomas Morley 
>> wrote:
>>
>>> Am Mi., 24. Okt. 2018 um 17:02 Uhr schrieb Ben <
>>> soundsfromso...@gmail.com>:
>>>
>>> > This should be what you need (see attached)
>>>
>>> We do have 'number-format', so one could do:
>>>
>>> #(define-public (format-roman-mark-numbers mark context)
>>>   (make-bold-markup (number-format 'roman-upper mark)))
>>>
>>> #(define-public (format-boxed-roman-mark-numbers mark context)
>>>   (make-bold-markup (make-box-markup (number-format 'roman-upper mark
>>>
>>> \layout {
>>>   \context {
>>> \Score
>>> markFormatter =
>>>   %#format-roman-mark-numbers
>>>   #format-boxed-roman-mark-numbers
>>> %% 2.21.0
>>> %markFormatter = #(format-mark-generic '(roman box bold mixedcase))
>>>   }
>>> }
>>> {
>>> \mark \default
>>> R1
>>> \mark \default
>>> R1
>>> }
>>>
>>> Cheers,
>>>   Harm
>>>
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>>>
>>
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Re: weird error with \repeat tremolo

[N. Andrew Walsh]

Hi Aaron,

On Mon, Feb 25, 2019 at 10:50 AM Aaron Hill 
wrote:
   You could try manually lengthening

> the stem to see if it helps as a possible workaround.
>

I've gone all the way out to

 \once \override Beam.positions = #'(-20 . -24)

and still get the error, so I don't think tweaking stem length is going to
help. Any idea what the error might be? Is there a bug report?

Thanks for the help,

A
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weird error with \repeat tremolo

[N. Andrew Walsh]

Hi List,

I have the following passage:


\version "2.19.82"


\relative c'' {
 \time 4/8
  | %45
  d32\( b g d \repeat tremolo 4 { b32 } \repeat tremolo 8 { g32 }

  | %46
  \repeat tremolo 8 { d'32 } \repeat tremolo 8 { g,32\) }

}

--
It compiles fine. But if I move it up one octave -- either by changing the
enclosing command to \relative c''' or by changing the first note to
d'32\(, it fails with the following error:

Starting lilypond 2.19.82 [Untitled]...
Processing `/tmp/frescobaldi-ujaa3_0t/tmptlvddq78/document.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...lilypond:
/home/gub/NewGub/gub/target/linux-64/src/lilypond-git.sv.gnu.org--lilypond.git-stable-2.20/flower/include/interval.hh:227:
T Interval_t::center() const [with T = double]: Assertion `!is_empty ()'
failed.
Exited with return code 6.

I do not have a directory named "/home/gub".

Any ideas what's going wrong here?

Cheers,

A
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Re: \repeat volta question

[N. Andrew Walsh]

Hi Jacques,

On Thu, Feb 21, 2019 at 6:42 PM Jacques Menu  wrote:

> Hello folks,
>
> What does the ‘5’ mean in:
>
[SNIP]

as I understand it, the number after the volta function doesn't do much on
its own, but it enables you to specify alternate endings, as described here:

http://lilypond.org/doc/v2.19/Documentation/notation/long-repeats
(look about a page down in the first subsection).

Cheers,

A
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Trill spanner on pitched trills collision avoidance

[N. Andrew Walsh]

Hi List,

another issue I'm running into: According to NR 1.3.3, "consecutive trill
spans will work without explicit \stopTrillSpan commands, since successive
trill spanners will automatically become the right bound of the previous
trill."

However, in this example:

\version "2.19.82"

\relative c'' {

  %1
  \time 3/4
  R1*3/4

  | %2
  \time 5/4
  R1*5/4

  | %3
  \time 2/4
  r4
  \pitchedTrill
  d,\startTrillSpan  cis

  | %4
  \pitchedTrill
  d\startTrillSpan  des

}

--
That is not the case. In this example, the first trill spanner should
continue into the second, as the main note remains the same and only the
auxiliary note changes.

Also, some more general questions about how pitched trills work:

is it possible to have multiple auxiliary notes?
is it possible to attach fingering diagrams to each of them?
if I try to attach phrasing slurs from one main note to the next, I get an
error:  "warning: Ignoring grob for slur: TrillPitchAccidental.  avoid-slur
not set?" Does this warning matter? What should I do to avoid it?

Thanks for the help,

A
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Compact clusters

[N. Andrew Walsh]

Hi List,

I have the following for an electronics part in a short example for chamber
ensemble:

\version "2.19.82"

\makeClusters \relative c' {
  \clef varpercussion
  \override Staff.StaffSymbol.line-count = #1
  \omit Staff.Rest

  %1
  \time 3/4
  r8. < a d >64. r r64 r < a d >64. r < a d > r < a d > r r16. r4

  | %2
  \time 5/4
  < e' d' >2 s8. < c e >16 r2

  | %3
  \time 2/4
  r4 < d f >64 r32 < d f >64 r32 r < d f >64 r32 < d f > r32 < d f >64

}

-
The goal was to notate short, rapid bursts, machine-gun-style (actually,
something like a spiccato or col legno battuto notation, both of which are
also useful in contemporary notation and sadly missing), but the horizontal
spacing makes this example take far too much space for the short durations.

Is there a way to force Lily to ignore durations only from this voice when
determining horizontal spacing? Or a better way to get the effect I'm
looking for here?

Thanks for the help,

A
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Re: Harmonics with ottava

[N. Andrew Walsh]

PS- also, I've made use of http://lsr.di.unimi.it/LSR/Item?id=875, which
gets the notes in the correct positions. My example now looks like this:
---
\version "2.19.82"
\relative c, {
\clef "bass_8"
\textLengthOn
  \override Staff.NoteColumn.ignore-collision = ##t
  \override NoteHead.style = #'harmonic-mixed
  <<
{
  \oneVoice
  eih^\markup { \right-align "Sul D" }--\harmonic
}
\\
{
  \oneVoice
  \textLengthOn
  \tiny
  \override Stem.stencil = ##f
  \override Flag.stencil = ##f
  \override ParenthesesItem.font-size = #0
  \set Staff.ottavation = #"15ma"
  \once \override Staff.OttavaBracket.direction = #UP
  \set Voice.middleCPosition = #(+ -1)
  < \parenthesize ceh'''>4 s
  \unset Staff.ottavation
  \unset Voice.middleCPosition
}
  >>
}
---
Problem now is, Lily isn't avoiding collisions between the markup objects
and grobs on other staves. Neither the markup nor the Staff.ottavation text
block are given place, instead overlapping the voice above. How can I fix
this?

Cheers,

A
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Re: Harmonics with ottava

[N. Andrew Walsh]

Hi Andrew

On Thu, Feb 7, 2019 at 11:51 AM Andrew Bernard 
wrote:

> Hello Andrew,
>
> Why are quartertones technically wrong?
>

Quartertones are wrong for harmonics (especially "natural" ones), because
neither the finger position nor the resultant pitch are equivalent to
equal-tempered quartertones. They are, at best, an approximation; and as I
write music in just intonation, a misleading one that I avoid. But like I
said: this is an example of a Stockhausen piece, and as he didn't care
about tuning properly and I don't care about his music, I'm not going to
invest the energy into doing it the right way.
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Harmonics with ottava

[N. Andrew Walsh]

Hi List,

I have the following construction:

--
\version "2.19.82"
\relative c, {
\clef "bass_8"
\textLengthOn
  \override Staff.NoteColumn.ignore-collision = ##t
  \override NoteHead.style = #'harmonic-mixed
  <<
{
  \oneVoice
  eih^\markup { \right-align "Sul D" }--\harmonic
}
\\
{
  \oneVoice
  \tiny
  \override Stem.stencil = ##f
  \override Flag.stencil = ##f
  \override ParenthesesItem.font-size = #0
  { \ottava #1 < \parenthesize ceh'''>4 s }
}
  >>
}

What I actually want is for the fingered note to appear in the correct
location in the staff (so, just above the middle line), and the ottava to
apply only to the sounding harmonic note above it in parentheses. This
becomes important in higher-order harmonics, where you otherwise have two
notes that are separated by two or three octaves and it starts taking up a
lot of vertical space.

Is there a way to do this?

Cheers,

A
(And yes, I know quartertones are technically wrong. This is 1) an example
from a Stockhausen piece, and he's a dilettante who never was about correct
harmonic representation, and 2) if I were to do it properly I'd need to
import all my own custom accidentals as glyphs, and that's way too much
work for a musical example of a piece from a composer I clearly loathe)
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Re: harp basic muffle

[N. Andrew Walsh]

Hi Rachel,

thanks for the muffle glyphs, they look really nice.

A question: is there a way to get the stem_engraver to accept these glyphs?
If it could, it would be possible to notate string-specific muffling
(something called for by some contemporary scores).

Thanks for the help,

A

On Fri, Jan 25, 2019 at 6:37 PM Rachel Knight  wrote:

> My piece with the adjusted muffle:
>
>
> On Jan 25, 2019, at 10:30 AM, Rachel Knight  wrote:
>
> Hi all,
>
> In super old scores, an asterisk was used, but that is not true of scores
> today. The example below that says English Ballad is from 1942. The next
> one is from 2005 and seems to be what is standard. The final one is one I
> created last year with Finale so you could see what proportions they chose.
> (It is extra large as the book is for younger students.)
>
> After studying these examples more, I adjusted the settings to make it
> consistent with current examples.
>
> mufflePath= \markup \path #'0.15 #'((moveto -1.125 0)
> (lineto 1.125 0)
> (moveto 0 -1.125)
> (lineto 0 1.125))
>
> muffleMarkup= \markup \translate #'(1.2 . -1.5)
>\combine \mufflePath \draw-circle #.75 #0.15 ##f
>
> It would be wonderful for harpists if this glyph could be added.
>
> Best,
> Rachel
>
>  
>
>
>
>
> 
>
>
>
> 
>
>
>
>
>
> On Jan 24, 2019, at 10:21 PM, Werner LEMBERG  wrote:
>
>
> This is Valentins code with a few values changed to get the
> appearance closer to what you are looking for: [...]
>
>
>
> Perfect, thanks so much!
>
>
> Is the exact shape of this symbol `universal'?  I.e., do German,
> French, and US publishers use exactly this shape?  If the answer is
> yes the glyph should be added to the lilypond music fonts.
>
>
>Werner
>
>
>
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Re: Rotated StaffGroup InstrumentName?

[N. Andrew Walsh]

PS- d'oh, nevermind that last. I discovered "\override
Staff.InstrumentName.X-offset"
-A
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Re: Rotated StaffGroup InstrumentName?

[N. Andrew Walsh]

Hi Jan-Peter,

On Mon, Jan 28, 2019 at 4:39 PM Jan-Peter Voigt  wrote:

[stuff]

Yes, that is exactly what I was looking for, thanks very much! My next
problem is that this now overlaps the staff instrument names. I could fix
this with a bigger indent in the \paper block, but changing the left-margin
and indent variables according to NR 4.1.1 doesn't seem to have any effect
at all. I'm going to have to dig into it a bit.

Cheers,

A
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Rotated StaffGroup InstrumentName?

[N. Andrew Walsh]

Hi List,

quick general question:

if I have a StaffGroup, like this in my score:
--
\new StaffGroup = "Staff_soloists"
<<
  \new Staff = "Staff_oboe_solo" <<
  \global \exTwoOboeMusic
>>
  \new Staff = "Staff_guitar_solo" <<
\global \exTwoGuitarMusic
  >>
  \new StaffGroup = "Staff_percussion_solo" \with {
systemStartDelimiter = #'SystemStartSquare
instrumentName = #"Perc. Solo"
shortInstrumentName = #"S.Prc."
  }
  <<
\new Staff = "percSoloOneUpper" <<
  \global \exTwoPercSoloOneMusicUpper
>>
\new Staff = "percSoloOneLower" <<
  \global \exTwoPercSoloOneMusicLower
>>
  >>

   \new Staff = "exTwoCbsSolo" <<
  \global \exTwoBassSoloMusic
>>
>>
---
Is there a way to put the group InstrumentName for that whole group, but
rotated 90°? This is something that would be useful, for example, in a
piece for orchestra with both chorus and soloists, or a concerto with more
than one soloist (in this case, these are four soloists within a larger
ensemble. The content is in a separate file, triggered by the variables,
and \global defining Staff settings).

What I would like would be for the toplevel StaffGroup "Staff_soloists" to
have a name, rotated 90° and extending to the left of the individual
instrument names. Is there any way to do that?

Cheers,

A
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Re: harp basic muffle

[N. Andrew Walsh]

Hi Valentin,

On Thu, Jan 24, 2019 at 9:05 AM Valentin Villenave 
wrote:

>
> Greetings everybody,
> I’ve just added a LSR snippet for harp muffle notation, feel free to
> let me know if there’s any way I can improve it…
>
> http://lsr.di.unimi.it/LSR/Item?id=1085


thank you very much for posting this. One thing I would very much like to
see (though it's a bit Utopian) would be the possibility to indicate
damping of individual strings. In contemporary notation, a dotted line
connects a note or chord to a later-occurring dampen symbol, indicating
that those strings *and those strings only* are dampened at that point.
This is something you see in contemporary notation for piano as well.

I'm not at all sure how one would do this, but I imagine it involves coding
some sort of spanner function.

I can't even find an example of what I mean. Google just returns one result
from somebody doing something with Sibelius that looks characteristically
horrible.

Cheers,

A
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Re: harp basic muffle

[N. Andrew Walsh]

PS- it turns out that Gould, p. 365, has a recommended notation for damping
individual strings, and it's less cluttered: she uses small notes with
damping symbols on their stems, and has other notation for damping a
specific range. That's probably easier than a spanner.
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Re: setting one \book to landscape

[N. Andrew Walsh]

Hi List,

On Sat, Jan 19, 2019 at 12:39 PM N. Andrew Walsh 
wrote:

>
> I have an input file with the following structure:
>
> \paper {
>   #(set-default-paper-size "a3" )
> }
>
> \include "file 1 - content.ly"
> \include "file 2 - content.ly"
>
> \book {
> \include "file 1 - score.ly"
> }
>
> \book {
> \include "file 2 - score.ly"
> }
>
> The second file has its own paper block as follows:
>
> \paper {
>   #(set-paper-size "a3" 'landscape )
>   two-sided = "false"
>   left-margin = 5\mm
>   right-margin = 15\mm
>#(define fonts
>  (set-global-fonts
>   #:factor (/ staff-height pt 24 )
>   ))
>   system-system-spacing.basic-distance = #36
>   score-system-spacing =
> #'((basic-distance . 24)
>(minimum-distance . 12)
>(padding . 8)
>(stretchability . 12))
>
> }
>
>
There's one other matter here with this score: In the console output, I see
this:

Drawing systems. . .
warning: compressing over-full page by 24.5 staff-spaces
warning: page 1 has been compressed

So how can I figure out why it's compressing the page? I don't see any
\paper block besides these I've listed that specify a size for the page, so
I don't know where it could be. Is there some special procedure for making
landscape-format scores?

Cheers,

A
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setting one \book to landscape

[N. Andrew Walsh]

Hi List,

I have an input file with the following structure:

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

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

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

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

The second file has its own paper block as follows:

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

}

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

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

Thanks for the help,

A
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Re: Problem with german umlauts and with mapping text to notes

[N. Andrew Walsh]

Hi Klaus,

On Sun, Jan 13, 2019 at 2:50 PM Klaus Ethgen 
wrote:

>
> - First there is the German umlauts. As you can see in the example, it
>   is correct encoded in UTF-8 but the umlauts are encoded as "??".
>   I did already try to use no bomb or even in latin1 encoding. But
>   nothing helped.
>

They encode fine on my side. You need to set up Lily to use the right
fonts. See: http://lilypond.org/doc/v2.19/Documentation/notation/fonts. I
find that Linux Libertine looks superb in a wide range of applications.


>
> - The second problem is about aligning the text with the notes. As you
>   can see, it never get aligned correctly. I put it in the file in two
>   versions. The first is without any hint and the second is with all
>   hints. None of them has the proper aligning (Starting with "Roter"
>   over two notes, then "Mond" over one and the next note without text.
>   After that, "überm" over two notes and "Silbersee" over three and so
>   on.
>

looks like you're having problems with spacing. See here:
http://lilypond.org/doc/v2.19/Documentation/notation/techniques-specific-to-lyrics#placing-syllables-horizontally


Cheers,

A
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Re: garbage-collection/trampoline error with beams and accidentals

[N. Andrew Walsh]

Hi David,

On Fri, Jan 11, 2019 at 5:58 PM David Kastrup  wrote:

>
> Just put the whole path in "double quote marks".
>

thanks. OK, now I must confess I don't really know what was going wrong
exactly, but I resolved the error.

My main file had a bunch of variables defining each instrument, and a
separate file for score layout that placed them. A bunch of those variables
weren't yet defined; now that they are, the error no longer appears. I have
no idea how that relates to whether the viola part had accidentals on some
notes, or whether a rest was beamed, or whatever, but now it works again.

Coding discipline saves the day, I guess.

Thanks for the help. Sorry I couldn't get anything more productive, but I
couldn't for the life of me reproduce the error, at any point, using gdb.
It only failed in frescobaldi, and (apparently) only because some
instruments were still undefined.

Cheers,

A
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Re: garbage-collection/trampoline error with beams and accidentals

[N. Andrew Walsh]

On Fri, Jan 11, 2019 at 5:21 PM David Kastrup  wrote:

>
> You have to start gdb with the name of your LilyPond executable.
>
> --
> David Kastrup
>
Ugh, OK, now it's getting confusing.

Since gdb can't handle whitespaces in the path, I copied the whole project
directory into a new folder, and rewrote the includes and filenames to
eliminate whitespaces. If I try to compile the document in a path with
whitespaces, I get the ly:trampoline error; the *exact same file*, in a
path without them, fails under different conditions. Also, compiling fails
with those errors in frescobaldi, but not when I run lilypond on the file
from gdb (so there's no backtrace to post).

So now what?

Cheers,

A
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Re: garbage-collection/trampoline error with beams and accidentals

[N. Andrew Walsh]

On Fri, Jan 11, 2019 at 4:36 PM David Kastrup  wrote:

>
> I cannot really find the location where this error would get triggered,
> so indeed a backtrace in gdb would be helpful.
>
>
When I get to the (gdb) prompt, I try this:
(gdb) run /[PATH]/plus-minus\ example\ 1.ly -file
Starting program:  /[PATH]/plus-minus\ example\ 1.ly -file
No executable file specified.
Use the "file" or "exec-file" command.

 What am I doing wrong with that command?

Cheers,

A
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Re: garbage-collection/trampoline error with beams and accidentals

[N. Andrew Walsh]

Hi David,

On Fri, Jan 11, 2019 at 4:06 PM David Kastrup  wrote:

> With the given example, I get no problem with either one or both of
> those changes.
>
> How about actually posting the full error message?
>

Like I said: it works fine on its own; but within a larger orchestral
piece, under those conditions, I get this:

Interpreting music...ERROR: In procedure ly:trampoline:
ERROR: Wrong type argument in position 3 (expecting Translator): #

Cheers,

A
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garbage-collection/trampoline error with beams and accidentals

[N. Andrew Walsh]

I have the following code:

\version "2.19.82"

\relative c' {
 \clef alto
 \override Score.Stem.stemlet-length = #0.75
 deh,2\f~ deh

 | %2
 deh2
 %\once \override Beam.positions = #'(2.5 . 1.5)
 c'16\rest[ deh,8.]

}

That compiles fine on its own. However, in the context of a full orchestra
score, I get an error with ly:trampoline if:

I uncomment the command for overriding Beam.positions
or
I tie the second deh in the first measure to the deh in the next, forcing
an accidental onto the deh8. that's beamed. (I'm using the "c'16\rest" to
force the rest into the middle of the Stave; is there a better way to do
that?)

So somewhere in there it's running into errors. From the previous posts on
this, it's something wrong with gdb that I need to track down; can someone
help me with debugging?

Cheers,

A
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Re: lilypond.org blocked by OpenDNS?

[N. Andrew Walsh]

Hi Sasha,

Likewise, happy New Year.

On Sun, Jan 6, 2019 at 8:12 PM SashaO  wrote:

> Hello and Happy New Year!
>
> I have something installed on my computer that uses OpenDNS and it blocks
> lilypond.org with the message:
>

Not sure what that's about. My VPN uses OpenDNS for name resolution, and I
can load the page just fine. Are you sure it isn't being blocked at some
other point?

Cheers,

A
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Re: <>

[N. Andrew Walsh]

On Fri, Jan 4, 2019 at 1:45 PM Thomas Morley 
wrote:

>
> A dot is missing.
> That's because the two dots are of the two aes2. are joined into one
> single dot. Which is hidden by \hideNotes.
>
> Cheers,
>   Harm
>

holy moly, this way of notating is so wrong I had no idea what was actually
going on. So, what's happening here is that the aes and the ees both start
on the first beat? They're simultaneous, but offset horizontally and with
their stems pointing opposite from normal?

Yeesh, that is terrible.This is why it's important to follow good notation
practice: I was so confused by this bad typesetting that I thought the bar
was 6/4 time, and now my day is ruined.

Cheers,

A
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Re: <>

[N. Andrew Walsh]

But maybe also as an aside:

On Fri, Jan 4, 2019 at 10:34 AM Thomas Morley 
wrote:

> Am Fr., 4. Jan. 2019 um 10:20 Uhr schrieb Gianmaria Lari
> :
> >
> > The attached image shows a measure of a accordion piece from Bogdan
> Precz.
>

I'm not sure why you're coding this with spacer rests anyway. If you want
to control stem direction, you can do that with \stemUp and \stemDown. But
even without them, Lily would likely set the stems in the direction shown
in the image on her own, so I'm not sure why you have all the extra code at
all. For example:

\relative c {
  \time 6/4
  \key aes \major
  \clef bass
   aes2.(
   ees'2
   bes'4)
}

But maybe I'm missing something. What is it you're trying to achieve that
this version does not?

Cheers,

A
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"as fast as possible" pseudo-tuplets

[N. Andrew Walsh]

Hi List,

I'm working on a realization of Stockhausen's "Plus Minus", and one of its
frequent features is the instruction to play a group of notes "as fast as
possible". In contemporary music notation there is a common practice of
notating rapid passages with a single slashed beam and irregular note
spacing, giving the duration as a note value with a tuplet bracket. I see
in the LSR the following:

http://lsr.di.unimi.it/LSR/Snippet?id=721
and
http://lsr.di.unimi.it/LSR/Item?id=797

which together seem like they'd provide the necessary function, but I don't
know how to implement them together as a single command. What I would like
is the following, if possible:

I can treat the passage as a tuplet, allowing me to calculate the entire
duration,
which I can then specify to be displayed instead of a tuplet number,
the passage will be contained under a single, slashed beam, and (optionally)
the note-spacing can be irregular (does Lily even have this capability? To
apply randomized x-offsets to specific notes without interfering with the
alignment of other voices?)

LSR 721 makes it look like even getting slashed beams involves a lot of
Scheme code; is there a more elegant way to do this?

Thanks in advance for the help.

A
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Re: lilypond-book→latex

[N. Andrew Walsh]

On Fri, Dec 21, 2018 at 7:24 PM Urs Liska  wrote:

>
> Why do you want this? Is there any specific reason not to use lualatex? I
> know you already run lyluatex in the Kayser project.
>

Well, because in this case it's in a chapter in my dissertation, the whole
of which is in Lyx. I'd rather avoid redoing the whole toolchain if I can.

But as Lyx seems to work less and less well with all the custom nonsense I
keep adding, I might have to take the plunge eventually.

Cheers,

A
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Re: lilypond-book→latex

[N. Andrew Walsh]

Hi Federico,

according to release notes, Lyx has had support for lilypond-book for some
time now. See here:

https://wiki.lyx.org/LyX/NewInLyX20#lb

That's where it says it requires the "lilypond-book→(pdf)latex" package,
which my Lyx says it can't find.

Any advice? Are there any Lyx users who got this working?

Cheers,

A

On Fri, Dec 21, 2018 at 7:14 PM Federico Bruni  wrote:

>
>
> Il giorno ven 21 dic 2018 alle 11:24, "N. Andrew Walsh"
>  ha scritto:
> > Hi List,
> >
> > dumb question: I'm trying to integrate lilypond into my Lyx document,
> > and while it has the lilypond-book module, it says it can't find the
> > "lilypond-book→(pdf)latex" package. Where do I find this package?
> >
> > I have lilypond installed in its own subdirectory, as well as my
> > texlive installation in another one (so neither are the system
> > packages from my distribution's repo). I'm using gentoo Linux.
> >
>
> Hi Andrew
>
> lilypond-book is a preprocessor and I don't think you can use it in Lyx
> (I have zero experience with Lyx though).
>
> Why don't you try lyluatex?
> https://github.com/jperon/lyluatex/blob/master/README.en.md
>
> Then you can process your .tex file directly using lualatex and I guess
> this will play well with Lyx.
>
>
>
>
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lilypond-book→latex

[N. Andrew Walsh]

Hi List,

dumb question: I'm trying to integrate lilypond into my Lyx document, and
while it has the lilypond-book module, it says it can't find the
"lilypond-book→(pdf)latex" package. Where do I find this package?

I have lilypond installed in its own subdirectory, as well as my texlive
installation in another one (so neither are the system packages from my
distribution's repo). I'm using gentoo Linux.

Thanks for the help,

A
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Re: feathered beam calculations

[N. Andrew Walsh]

Hi Reggie,

well, my "solution" was that the client changed his mind and didn't want a
ritardando there, so I did away with them.

But no, I've never found a good way to calculate feathered beams (nor how
to space them properly to match their changing duration values). This seems
like something Lily could do really well, but I don't think the tool has
been really developed.

Cheers,

A

On Sat, Dec 15, 2018 at 8:02 PM Reggie  wrote:

> N. Andrew Walsh wrote
> > Hi List,
> >
> > I'm trying to use the \featherDurations command on a brief passage:
> >
> > \relative c' {
> > a,,^\markup { \italic "subito meno mosso" }\( b cis dis eis8\)
> >  \override Beam.grow-direction = #LEFT
> >   \featherDurations #(ly:make-moment 2/1)
> >  { a,32[\( b cis dis eis]\)\fermata }
> >  \override Beam.grow-direction = #'()
> >  < a, cis e >16 < a cis e >
> >
> > }
> >
> > What I want is for that feathered group on the fourth line to occupy the
> > duration of exactly one eighth note. As there are five notes, I'm
> > struggling with the math, and thus what to put after ly:make-moment.
> >
> > Can you advise as to what the numbers should be?
> >
> > Cheers,
> >
> > A
> >
> > ___
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> > lilypond-user@
>
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>
> Did you solve this? I cannot find anywhere in documentation an exact
> information about how to explicitly tell lilypond how many beats should be
> in a group of feather beamed notes. Like you say 1 eighth note what about a
> dotted quarter or a half note. No idea how to force the duration of
> feathers
> to be X beats in order for bar check success. Did you find the answer?
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
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Re: using Lilypond as a graphical drawing app

[N. Andrew Walsh]

ohmygod, is anybody still working on this? The idea to somebody re-doing
Treatise in Lily *as vector graphics* literally made me gasp. That's some
next-level insanity.

Kudos to you, to whoever coded that, and to everybody. I … I need to go sit
down for a while.

Cheers,

A

On Sat, Dec 8, 2018 at 9:25 PM Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi Pierre,
>
> > Your topic reminds me some test pages done with a C. Cardew score two
> years ago:
> > http://lilybin.com/u8vxbi/1
>
> WOW! Lilypond never ceases to amaze me.
>
> A non-trivial detail: we’re viewing that in a browser.
> Just let that sink in.  =)
>
> Thanks!
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
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Re: Roman Numeral rehearsal marks?

[N. Andrew Walsh]

PS- update: I figured out the problem, so now it's resolved (and in the
process dropped an \include that was loading a whole bunch of libraries I
turned out not to need, saving on compile time as well).

Thanks again!

On Wed, Oct 24, 2018 at 6:39 PM N. Andrew Walsh 
wrote:

> Hi Thomas, Ben
>
> for some reason, neither of your codes seem to work: I always get arabic
> numerals in a box if I use \mark \default. I think something is overriding
> that setting elsewhere in my config files; I'll try to track it down. The
> MWE Ben sent works just as I want it to on its own, but not in the main
> document. I'll have to do some digging.
>
> Thanks!
>
> A
>
> On Wed, Oct 24, 2018 at 5:10 PM Thomas Morley 
> wrote:
>
>> Am Mi., 24. Okt. 2018 um 17:02 Uhr schrieb Ben > >:
>>
>> > This should be what you need (see attached)
>>
>> We do have 'number-format', so one could do:
>>
>> #(define-public (format-roman-mark-numbers mark context)
>>   (make-bold-markup (number-format 'roman-upper mark)))
>>
>> #(define-public (format-boxed-roman-mark-numbers mark context)
>>   (make-bold-markup (make-box-markup (number-format 'roman-upper mark
>>
>> \layout {
>>   \context {
>> \Score
>> markFormatter =
>>   %#format-roman-mark-numbers
>>   #format-boxed-roman-mark-numbers
>> %% 2.21.0
>> %markFormatter = #(format-mark-generic '(roman box bold mixedcase))
>>   }
>> }
>> {
>> \mark \default
>> R1
>> \mark \default
>> R1
>> }
>>
>> Cheers,
>>   Harm
>>
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>>
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Re: Roman Numeral rehearsal marks?

[N. Andrew Walsh]

Hi Thomas, Ben

for some reason, neither of your codes seem to work: I always get arabic
numerals in a box if I use \mark \default. I think something is overriding
that setting elsewhere in my config files; I'll try to track it down. The
MWE Ben sent works just as I want it to on its own, but not in the main
document. I'll have to do some digging.

Thanks!

A

On Wed, Oct 24, 2018 at 5:10 PM Thomas Morley 
wrote:

> Am Mi., 24. Okt. 2018 um 17:02 Uhr schrieb Ben  >:
>
> > This should be what you need (see attached)
>
> We do have 'number-format', so one could do:
>
> #(define-public (format-roman-mark-numbers mark context)
>   (make-bold-markup (number-format 'roman-upper mark)))
>
> #(define-public (format-boxed-roman-mark-numbers mark context)
>   (make-bold-markup (make-box-markup (number-format 'roman-upper mark
>
> \layout {
>   \context {
> \Score
> markFormatter =
>   %#format-roman-mark-numbers
>   #format-boxed-roman-mark-numbers
> %% 2.21.0
> %markFormatter = #(format-mark-generic '(roman box bold mixedcase))
>   }
> }
> {
> \mark \default
> R1
> \mark \default
> R1
> }
>
> Cheers,
>   Harm
>
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Roman Numeral rehearsal marks?

[N. Andrew Walsh]

Hi List,

is there any other available format for rehearsal marks? My client wants
Roman numerals, and the workaround I've been using:

<>^\markup { \raise #4 \right-align \abs-fontsize #16 \bold { "IV" } }

doesn't work if the voice containing it is resting at that point (or,
conversely, I don't know how to ensure that the \markup is always placed on
the topmost stave of a system and no others).

Is there a better way to do this? MWE:

\version "2.19.80"

\relative c'' {

  a1

  | %2
  <>^\markup { \right-align \abs-fontsize #16 \bold { "IV" } }
  a

  | %3
  b

}

Cheers,

A
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Re: adding footnote to markup on invisible measures

[N. Andrew Walsh]

arrgh, yes, you are correct, and I am absent-minded. Thanks Thomas!

On Mon, Aug 27, 2018 at 3:02 PM Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

> ... Thanks to Thomas Morley-Harm...
> Cheers,
> Pierre
>
> Le lun. 27 août 2018 à 11:47, N. Andrew Walsh 
> a écrit :
>
>> Hi Pierre,
>>
>> whoa crap, I'm sorry I totally missed your reply! I have no idea how that
>> does what it's supposed to do, but at least the MWE is outputting footnotes
>> like it's supposed to. Wild.
>>
>> I'll try it in the main document and see how it goes, but it looks like
>> that solves my issue.
>>
>> Thanks!
>>
>> A
>>
>> On Tue, Aug 21, 2018 at 6:32 PM Thomas Morley 
>> wrote:
>>
>>> 2018-08-21 15:52 GMT+02:00 N. Andrew Walsh :
>>> > Hi Pierre,
>>> > On Mon, Aug 20, 2018 at 9:44 PM Pierre Perol-Schneider
>>> >  wrote:
>>> >>
>>> >> Here's a workaround:
>>> >>>
>>> >>>
>>> >
>>> > Thank you for the tip, but as this is one of several footnotes, and I
>>> want
>>> > them to be numbered in sequence, it doesn't work for me. Is there some
>>> > functionality here that I'm missing? Do I need to make some grob
>>> visible or
>>> > something?
>>> >
>>> > Cheers,
>>> >
>>> > A
>>>
>>>
>>> \auto-footnote only works in standalone Text.
>>>
>>> Probably:
>>>
>>> \relative c {
>>>   \time 2/4
>>>   \hideNotes
>>>   \omit Staff.TimeSignature
>>>   |
>>>   \override Score.FootnoteItem.annotation-line = ##f
>>>   \override Score.FootnoteItem.padding = -1
>>>   \override Score.FootnoteItem.Y-offset = 0.05
>>>   \textLengthOn
>>>   es'''2
>>>-\footnote #'(1 . 0)
>>>  "Das Cello erzählt eine Geschichte ganz unabhängig von den anderen
>>> Stimmen"
>>>^"un poco misterioso"
>>>   <>
>>>-\footnote #'(1 . 0)
>>>  "Die anderen Stimmen machen was sie wollen. ;)"
>>>^"allegro chaotico"
>>>   |
>>>   \omit Staff.BarLine
>>>   \repeat unfold 19 { es2 }
>>>   \undo \omit Staff.BarLine
>>>   \unHideNotes
>>>   \undo \omit Staff.TimeSignature
>>> }
>>>
>>> Cheers,
>>>   Harm
>>>
>>
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Re: adding footnote to markup on invisible measures

[N. Andrew Walsh]

Hi Pierre,

whoa crap, I'm sorry I totally missed your reply! I have no idea how that
does what it's supposed to do, but at least the MWE is outputting footnotes
like it's supposed to. Wild.

I'll try it in the main document and see how it goes, but it looks like
that solves my issue.

Thanks!

A

On Tue, Aug 21, 2018 at 6:32 PM Thomas Morley 
wrote:

> 2018-08-21 15:52 GMT+02:00 N. Andrew Walsh :
> > Hi Pierre,
> > On Mon, Aug 20, 2018 at 9:44 PM Pierre Perol-Schneider
> >  wrote:
> >>
> >> Here's a workaround:
> >>>
> >>>
> >
> > Thank you for the tip, but as this is one of several footnotes, and I
> want
> > them to be numbered in sequence, it doesn't work for me. Is there some
> > functionality here that I'm missing? Do I need to make some grob visible
> or
> > something?
> >
> > Cheers,
> >
> > A
>
>
> \auto-footnote only works in standalone Text.
>
> Probably:
>
> \relative c {
>   \time 2/4
>   \hideNotes
>   \omit Staff.TimeSignature
>   |
>   \override Score.FootnoteItem.annotation-line = ##f
>   \override Score.FootnoteItem.padding = -1
>   \override Score.FootnoteItem.Y-offset = 0.05
>   \textLengthOn
>   es'''2
>-\footnote #'(1 . 0)
>  "Das Cello erzählt eine Geschichte ganz unabhängig von den anderen
> Stimmen"
>^"un poco misterioso"
>   <>
>-\footnote #'(1 . 0)
>  "Die anderen Stimmen machen was sie wollen. ;)"
>^"allegro chaotico"
>   |
>   \omit Staff.BarLine
>   \repeat unfold 19 { es2 }
>   \undo \omit Staff.BarLine
>   \unHideNotes
>   \undo \omit Staff.TimeSignature
> }
>
> Cheers,
>   Harm
>
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Re: adding footnote to markup on invisible measures

[N. Andrew Walsh]

Hi Pierre,
On Mon, Aug 20, 2018 at 9:44 PM Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

> Here's a workaround:
>
>>
>>
Thank you for the tip, but as this is one of several footnotes, and I want
them to be numbered in sequence, it doesn't work for me. Is there some
functionality here that I'm missing? Do I need to make some grob visible or
something?

Cheers,

A
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adding footnote to markup on invisible measures

[N. Andrew Walsh]

Hi List,

for "reasons" I have a passage that should have blank staves with no
barlines, rests, clefs, etc. However, at the start of the section is an
expressive mark, which should itself have a footnote. What I have thus far
is as follows:

\version "2.19.80"

\relative c {
  \time 2/4
  \hideNotes \omit Staff.TimeSignature | es'''2^\markup { "un poco"
\auto-footnote "misterioso" "Das Cello erzählt eine Geschichte ganz
unabhängig von den anderen Stimmen" } | \omit Staff.BarLine \repeat unfold
19 { es2 } \undo \omit Staff.BarLine \unHideNotes \undo \omit
Staff.TimeSignature

}

This gets the invisible-measure bit, and the expressive mark, but the
footnote is not appearing. Is there some instruction I need to give for the
footnote marks and text to appear? Or is my syntax wrong?

Thanks for the help!

A
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Re: Opinions requested on deprecating "annotation" commands

[N. Andrew Walsh]

Hi Urs, List

On Sun, 1 Jul 2018, 00:08 Urs Liska  wrote:

> Hi Simon and Craig,
>
> I think it's a good point. And since maybe I'll have to suffer more than
> anyone else ;-) I shouldn't wring my hands too much and just go for that.
>
I'll consent to slogging through all our Kayser project to update the
annotations if it means getting this very excellent feature implemented.

Cheers,

A
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Re: weird de-beaming behavior

[N. Andrew Walsh]

Hi Phil,
On Wed, Jun 20, 2018 at 2:26 PM Phil Holmes  wrote:

>
> You could keep making odd examples of undefined beaming until the cows
> come home, but surely it would be a lot quicker just to beam manually???
>

I suppose, actually (and I'll talk to Urs about this) that since the
sources I'm working from have their own idiosyncratic beaming (beaming over
rests and grouped at the half-note, for example) that it might make sense
at some point to define a stylesheet for each section, so that Lily knows
in advance what the beaming scheme should be.

Cheers,

A
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Re: weird de-beaming behavior

[N. Andrew Walsh]

Hi Phil,
On Wed, Jun 20, 2018 at 1:18 PM Phil Holmes  wrote:

> I'm no expert on lily's beaming system.  However, in your second example
> you don't break an existing beam with a bar/line break, so it's rather
> different from the first where the "correct" beaming was broken.
>
>
Not knowing anything about how Lily works, I'm inclined to agree. in 3/4
(at least here) a measure comprising only 8th-notes will be beamed straight
through, thus (pseudo code):

e8[ e c' c c c c]

Whereas a 4/4 bar is beamed in two groups of four.

So you're correct, that there's something going on with default beaming
being broken up. In fact, with the following MWE (also in 4/4):

\version "2.19.80"

\relative c'' {

c e, g8 a
\bar "" \break
g e g16 a b8
}

the "g8 a" at the end of the first line is *also* broken into two unbeamed
8th-notes, but the two that follow the break do not. Why would this be?

Cheers,

A
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Re: weird de-beaming behavior

[N. Andrew Walsh]

Hi David
On Wed, Jun 20, 2018 at 12:33 PM David Kastrup  wrote:

>
> In this case you have 3 beats before the break.  The bar is complete.
> In your first example you had only two.
>

Both MWEs are complete in themselves, thus the latter, with no \time
statement, is in the default 4/4. Sorry, I should have made that more
explicit.

Cheers,

A
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Re: weird de-beaming behavior

[N. Andrew Walsh]

Hi Phil,

thanks for your message. The thing is, here's another example:

\version "2.19.80"

\relative c'' {

c e, g16 a b8
\bar "" \break
r e, g16 a b8
}

The 'g16 a b8' in the first line is beamed correctly. Is this something
peculiar to 3/4 time?

Cheers,

A

>
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weird de-beaming behavior

[N. Andrew Walsh]

Hi List,

I have the following MWE:

\version "2.19.80"

\relative c'' {
  \time 3/4
  e8 d16 c d8 d
  \bar "" \break
  g, f'~

}


Notice that the last two eighth-notes in that first line, in this case, are
un-beamed. However, when I comment out the next line (starting with the
\bar) the notes are beamed together.

This seems … unintended, and also undesirable. Can you confirm that this
breaks for you as well, and let me know if there's a workaround, if this is
a bug, or what?

Cheers,

A
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Re: \consists terminology

[N. Andrew Walsh]

Hi David,
On Fri, Jun 15, 2018 at 6:37 PM David Kastrup  wrote:

>
> "consists of" and "will include the following as one of many
> constituents upon instantiation to be part of its translator group" is
> not the same.
>
> Well, if the latter of these is what "\consists" is intended to mean in
this context, then I'm inclined to think that maybe my earlier pedantry
might be on to something. Do you agree with the following:

"A \consists B" is equivalent to "B constitutes [non-exclusively the
relevant part of] A"?

If that's the case, the active verb that goes in the opposite direction
would be "comprise". Its negation could be "decomprise."
You could also theoretically use "\invokes/\disinvokes" if that isn't
already used elsewhere.

David Foster Wallace, terrible person though he was, would likely have had
a few better suggestions.

Cheers,

A
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Re: Advice on naming and structuring scholarLY commands

[N. Andrew Walsh]

Pedantry Corner: the *active* verb that Elaine is seeking is actually
"comprise." As in, "the committee comprises representatives from various
disciplines." The verb in the opposite direction is "compose:"
"representatives of various disciplines compose the committee." "Composed"
can be used in passive voice to have a similar meaning to "comprise," which
does not take a passive voice. On the other hand, Garner points out that
"consist in" is the proper construction when referring to intangible
components, as in: "the engraving standards of the Lilypond system consist
in the ideals of good typography, ease of use, and robustness of
information preservation."

But on the larger point, my understanding of the \consists command is that
the "of" ("in"?) is simply elided.

-A

On Fri, Jun 15, 2018 at 8:59 AM David Kastrup  wrote:

> Flaming Hakama by Elaine  writes:
>
> > This is probably tilting at windmills at this point,
> > since we seem to have adopted this language,
> > both in LilyPond and in the ee.
> >
> > But, from the perspective of our terminology reflecting English language
> > usage,
> > I feel compelled to point out that "consist" and "consisted"
> > are not used in English as active verbs.
> >
> > Yes, these do work in the passive, or in the past tense.
> > As in "my meal consisted of steak and potatoes",
> > or "my meal consists of steak and potatoes".
> >
> > But you would not say, "I consisted a meal of steak and potatoes", nor
> > would you say, "I consisted parsley to a meal of steak and potatoes."
>
> So you are complaining that our use of the verb does not match the
> description of some naturally occuring entirely different phenomenon?
>
> > But when using it as a word, it does not parse well:
> >
> >> When an engraver is consisted to a Voice or Staff or similar context
> >> only properties created through overrides are visible to the
> >> acknowledger while tweaks seem to be hidden. However, if I consist the
> >> engraver to Score also tweaks are recognized.
> >
> >
> > Here is a usage of the \consists command:
> >
> >   \context {
> > \Staff
> > \consists Mark_engraver
> > \consists Metronome_mark_engraver
> >   }
> >
> > To convey what this does, it would be more along the lines of
> > "Create a Staff context that consists of a Mark_engraver and
> > Metronome_mark_engraver".
>
> Which forms a grammatical statement which, when interpreted at its
> grammatical meaning, is factually utterly wrong.
>
> > I mean, you could say that, but it does not make sense to a native
> > English speaker.
>
> Which is better than making wrong sense.  It makes obvious that we are
> using a non-standard sense of the word borrowing from the meaning of the
> reserved word in its context of LilyPond rather than the natural world.
>
> > In this sense, if commands are to be read as verbs, maybe we should
> change
> > the command name.
> > Is there a reason why we couldn't use \with, or \add ?
> >
> >   \context {
> > \Staff
> > \with Mark_engraver
> > \with Metronome_mark_engraver
> >   }
>
> \with is taken.
>
> >   \context {
> > \Staff
> > \add Mark_engraver
> > \add Metronome_mark_engraver
> >   }
> >
> > I think that conveys more clearly what is happening.
>
> Not really: that remains something to look up in the documentation.
>
> Now I'll readily admit that \consists / \remove does not make for an
> appealing antonym pair.  I'd be leary after all this time of turning a
> common word like "add" into a reserved word even though "remove" is not
> better in that regard.  But at least it has the advantage of being
> established.
>
> --
> David Kastrup
>
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Re: lyluatex can't execute Lilypond

[N. Andrew Walsh]

Hi David,

On Wed, Apr 25, 2018 at 12:21 PM, David Kastrup  wrote:
>
>
> I suspect /path/to/lily/wrapper/lilypond .  Can you show the actual
> input?  It may contain special characters (such as spaces) causing
> problems.
>
> After noticing that the script is referring to my system installation, I
realized that I never added the path to my local (full) texlive
installation to the PATH variable.

once I exported that, the document compiled.

Sigh. Sorry for the noise.

Cheers,

A
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lyluatex can't execute Lilypond

[N. Andrew Walsh]

Hi List,

Urs and I are having trouble figuring out why my version of lyluatex isn't
working. I have the following MWE:

\documentclass{scrartcl}
\usepackage[program=/path/to/lily/wrapper/lilypond]{lyluatex}
\begin{document}
\begin{lilypond}
c'
\end{lilypond}
\end{document}


but the command 'lualatex --shell-escape test.tex' ends with this error:

 (/usr/share/texmf-dist/tex/latex/oberdiek/epstopdf-base.sty
(/usr/share/texmf-dist/tex/latex/oberdiek/grfext.sty
(/usr/share/texmf-dist/tex/generic/oberdiek/kvdefinekeys.sty))
(/usr/share/texmf-dist/tex/generic/oberdiek/pdftexcmds.sty)
(/usr/share/texmf-dist/tex/latex/latexconfig/epstopdf-sys.cfg))
(/usr/share/texmf-dist/tex/latex/oberdiek/pdflscape.sty
(/usr/share/texmf-dist/tex/latex/graphics/lscape.sty))(load luc: ~/
.texlive/texmf-var/luatex-cache/generic/fonts/otl/lmsans10-regular.luc)(load
lu
c: ~/.texlive/texmf-var/luatex-cache/generic/fonts/otl/lmmono10-reg
ular.luc)sh: all: command not found
/usr/share/texmf-dist/tex/latex/base/ltluatex.lua:109:
Module lyluatex Error: LilyPond could not be started.
(lyluatex) Please check that LuaLaTeX is started with the
(lyluatex) --shell-escape option, and that 'program'
(lyluatex) points to a valid LilyPond executable.
(lyluatex) on input line 6

stack traceback:
[C]: in function 'error'
/usr/share/texmf-dist/tex/latex/base/ltluatex.lua:109: in function

(...tail calls...)
...~/texmf/tex/latex/git-latex/lyluatex/lyluatex.lua:898: in function '
lilypond_version'
...~/texmf/tex/latex/git-latex/lyluatex/lyluatex.lua:1113: in function
'run_lilypond'
...~/texmf/tex/latex/git-latex/lyluatex/lyluatex.lua:1094: in function
'process'
[\directlua]:1: in main chunk.
\ly@compilescore ...directlua {ly.score:process()}

l.6 \end{lilypond}

? x
 409 words of node memory still in use:
   2 hlist, 1 vlist, 1 rule, 1 dir, 5 attribute, 55 glue_spec, 5
attribute_list
, 1 write, 1 special, 1 pdf_colorstack nodes
   avail lists: 2:19,3:2,4:1,5:2,6:29,7:2,8:1,9:1,11:3

warning  (pdf backend): no pages of output.
Transcript written on test.log.

Can you help us troubleshoot this?

Cheers,

A
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Re: Is lilypond really suitable for composing?

[N. Andrew Walsh]

Pfft. Amateurs.

Ahem:

". . . But later, an unmusical anarchy was led by poets who had natural
talent, but were ignorant of the laws of music...Through foolishness they
deceived themselves into thinking that there was no right or wrong way in
music, that it was to be judged good or bad by the pleasure it gave. By
their works and their theories they infected the masses with the
presumption to think themselves adequate judges. So our theatres, once
silent, grew vocal, and aristocracy of music gave way to a pernicious
theatrocracy...the criterion was not music, but a reputation for
promiscuous cleverness and a spirit of law-breaking."

Plato. Laws, 701.
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Re: Is lilypond really suitable for composing?

[N. Andrew Walsh]

On Sat, Mar 24, 2018 at 6:03 AM, Vaughan McAlley 
wrote:

 If it isn’t hard, you can probably do better.

+1

>From my own (admittedly pretty out-there) view on how and what one
composes, I can also say that *not* having immediate acoustic feedback of
the work you're doing also serves a benefit. Two examples, from very
different cases:

I work with Lily occasionally on contract for a client whose musical skills
are amateur at best, and whose working process is exactly the process
Kieran and David alluded to above: he picks out tunes on piano, and then
writes down what he likes. This effectively limits his composition to 1)
what he can play (which is basically overly-sentimental pop music), and 2)
what his prior experience contains (which is the same, plus late-70s
academic modernism comprising essentially a rigid dodecaphony). In this
case, all he can do with composing is rehash what he already has, and it
makes for very uninteresting music.

Secondly, from my own experience as a composer, I stopped using any kind of
auditory aid or notation software to compose some 20 years ago, early in my
schooling. After that, it would very frequently occur that I would hear
results in performance that weren't at all what I had imagined when
writing. The instrumentation, the acoustics, the different ways living
musicians approach various techniques, etc., all contributed to my often
being confronted with "my" composition that turned out to sound completely
new to me. That learning experience was invaluable, as I gained knowledge
of how to write sounds I *hadn't* heard in advance.

For those who want to get really abstract about this, there's an excellent
book on æsthetics (as a branch of philosophy) by Christoph Menke, called
"Force" (in German as "Kraft") that explores the idea that we expand as
people, more specifically as artists,  through the direct encounter with
the unknown and unknowable, broadening our minds to incorporate
possibilities we hadn't anticipated. Very worthwhile reading.

For those reasons, I'd agree with the others here, that it's fundamentally
important that you spend the extra effort to separate the creation of the
music from its presentation. You need both skills, and you can't really
exercise the first one to its fullest if it's constrained by the latter.

(another personal anecdote from my schooling: I once had a fellow student
at music school who blithely declared, "I just don't write anything that I
can't notate easily in Finale." This was in the 90s, when Finale came on
floppies, and my horror at that statement has put me off using notation
software for my own scores ever since)

Cheers,

A
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Re: Frescobaldi sudden failures on all machines

[N. Andrew Walsh]

Hi Peter,

I'm not at all an expert on any of this (or even really competent) but some
quick googling returns this thread:
http://lilypond.1069038.n5.nabble.com/Strange-return-code-and-compilation-fail-td145362.html

where they say that error is an access violation from within Lilypond (ie,
it's not Frescobaldi).

If it's happening on old .ly files, have you tried running convert-ly on
them? Have you tried creating a MWE just to make sure your Lily is working
at all?

HTH,

A

On Tue, Mar 6, 2018 at 3:03 PM,  wrote:

> I have been using Frescobaldi for years but today re-running old files I
> see the following behaviour.
>
>
>
> The compilation proceeds for a while then halts with error -1073741819.
> This happens on two different Windows 10 machines with different OS
> versions. It happens when attempting to recompile old .ly files.
>
>
>
> Frescobaldi error messages are notoriously obscure.  I have uninstalled ad
> re-installed Frescobaldi and rebooted to no effect.
>
>
>
> Does anyone have any suggestions to isolate this issue. I suspect it may
> be about file permissions but that is just a suspicion.
>
>
>
> Thanks for reading this far.
>
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Re: Fermatas with tremolos

[N. Andrew Walsh]

Late to the party, but you asked:

On Mon, Feb 19, 2018 at 11:47 PM, Thomas Morley 
wrote:

>
> https://forums.makemusic.com/viewtopic.php?f=12=2065=
> 70206c7b17c9cd8107c4ad1250073f0c
> But not discussing how it _should_ be done.
> I don't have Gould at hand, does she says anything about it?
>
>
Gould:189 discusses fermata placement: they are to be centered over the
tremolo beams, inside slurs in two-voice writing, outside and above the
stave otherwise. It would be nice if there were a way to attach the fermata
to the tremolo as a whole and do this placement automatically.

Likewise, in a project I'm working on with Urs Liska, we're having to do a
lot of extra code to get proper fermatas on the final barlines of score
sections, which I would also like to see as something that … doesn't need
all that extra code.

Cheers,

A
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Re: Gis major key signature; Lily's key signature algorithm

[N. Andrew Walsh]

oh :(

alas! It looked so interesting from the description and the one time I
flipped through it.

Well then! I can strike that rather expensive bauble off my wish-list in
that case, and move on to others.

Cheers,

A

On Thu, Feb 8, 2018 at 11:39 AM, Andrew Bernard <andrew.bern...@gmail.com>
wrote:

> Hi Andrew,
>
> That's the Jorgensen book. Has been generally discredited in most
> respects. [There are other lists where this has been hashed out very
> thoroughly.] Sorry! [Way too OT to go into the reasons here.]
>
> Readily available on Amazon and so on.
>
> Andrew
>
>
> On 8 February 2018 at 21:26, N. Andrew Walsh <n.andrew.wa...@gmail.com>
> wrote:
>
>>
>> . In fact, there is a mammoth study on 19th century temperaments (with
>> the equally gargantuan title "Tuning: Containing the Perfection of
>> Eighteenth-Century Temperament, the Lost Art of Nineteenth-Century
>> Temperament and the Science of Equal Temperament," which if anybody on the
>> list has and would be willing to sell me, please contact me privately!).
>>
>
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Re: Gis major key signature; Lily's key signature algorithm

[N. Andrew Walsh]

I agree, and we find even older semi-equal temperaments on instruments from
ancient China that also make clear that theorists knew what those tunings
were. But the first-hand accounts of theorists and composers (and prior to
the 20th century, those two disciplines had a lot more overlap) was that
equal temperament sounded bland and uninteresting, and that well
temperaments (or any of the vast array of 19th-century meantone
derivatives, not to mention the extended temperaments like the one used on
the cembalo with 24 keys on which a young Mozart [!] was famous for
improvising in the courts) were musically superior in every way.

Musicians at the time certainly *knew* what equal temperament was, even if
they couldn't reach it exactly, and the fact that almost none of them
advocated for it on musical grounds tells you all you need to know about
what the "old masters" thought of it.

-A

On Thu, Feb 8, 2018 at 11:21 AM, Hans Åberg <hans.aber...@telia.com> wrote:

>
>
> > On 8 Feb 2018, at 10:39, David Kastrup <d...@gnu.org> wrote:
> >
> > "N. Andrew Walsh" <n.andrew.wa...@gmail.com> writes:
> >
> >> It is entirely acceptable to be a music hobbyist who enjoys a passing
> >> familiarity with the classical tradition and is largely uninterested
> >> in more … esoteric discussions of theory. It is absolutely *not* all
> >> right to be spreading historical inaccuracies of this sort. The WTC is
> >> extensively researched and discussed in musicological and historical
> >> circles, sometimes heatedly, but the idea that Bach wrote it to prove
> >> that Well Temperament sounded "awful" (or the much worse assertion,
> >> that he wrote it to demonstrate *equal* temperament, a technological
> >> and historical impossibility in the 18th century)
> >
> > Don't be silly.  Equal temperament most certainly is not
> > "technologically impossible".  Tuners of organs and accordions versed in
> > their art work by tuning a circle of fifths in a reference octave by
> > getting the proper sequence of beatings corresponding to the desired
> > temperament, then tune the other octaves in reference.
>
> The first effective E12 tunings for piano arrived in the early 1900s—the
> idea was present in Ancient Greece, and something like it was used on
> lutes. A lot of tunings were studied using monochords, but they are too
> crude for the required fine tuning. So if equal temperament was
> technologically possible earlier, perhaps they did not see any point in it:
> a method to play equally harmonically bad in all keys.
>
>
>
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Re: Gis major key signature; Lily's key signature algorithm

[N. Andrew Walsh]

Hi David,

On Thu, Feb 8, 2018 at 10:39 AM, David Kastrup  wrote:

>
> Don't be silly.  Equal temperament most certainly is not
> "technologically impossible".


please note the qualifier "in the 18th century." The technological means to
tune *exact* equal temperament weren't available until around the 1830s,
and weren't in widespread use until later in the 19th, and only universal
in the 20th, centuries. Beethoven, for example, kept several cembalos in
his studio, all tuned differently, and would hold parties where he'd
improvise on them in succession to demonstrate their different affect. In
fact, there is a mammoth study on 19th century temperaments (with the
equally gargantuan title "Tuning: Containing the Perfection of
Eighteenth-Century Temperament, the Lost Art of Nineteenth-Century
Temperament and the Science of Equal Temperament," which if anybody on the
list has and would be willing to sell me, please contact me privately!).

Tuning by ear was certainly possible, and as that book notes, there was a
distinct art to it, much like how the rest of your message describes. But
again, the question of whether equal temperament was something those
composers actually wanted to hear (leaving aside the question of whether
any of them did or had the means to do so) is a question of historical
fact, and from their writings we find the answer almost universally in the
negative.

-A
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Re: Gis major key signature; Lily's key signature algorithm

[N. Andrew Walsh]

On Thu, Feb 8, 2018 at 9:38 AM, Blöchl Bernhard <
b_120902342...@telecolumbus.net> wrote:

>
> Not in equally tempered scale. All that feelings of keys refer to the
> historic tunings. And by the way, do you know that Bachs "Wohltemperierte
> Klavier" was written just to show how awfull that sounds in the ears of
> musicians of taht time? (I heard that in my side studies to physics in the
> Music Academie and you find that theory on the net as well.)
>

It is entirely acceptable to be a music hobbyist who enjoys a passing
familiarity with the classical tradition and is largely uninterested in
more … esoteric discussions of theory. It is absolutely *not* all right to
be spreading historical inaccuracies of this sort. The WTC is extensively
researched and discussed in musicological and historical circles, sometimes
heatedly, but the idea that Bach wrote it to prove that Well Temperament
sounded "awful" (or the much worse assertion, that he wrote it to
demonstrate *equal* temperament, a technological and historical
impossibility in the 18th century) is patently, flatly wrong. This isn't a
question of experts vs. the lay public, it is an unambiguous misstatement
of fact that serves no end but to muddy the discussion (and even to
diminish our appreciation, even as hobbyists, of what is arguably a
historically important, and artistically "good" piece of music). More to
the point, to say that none of this matters because we use equal
temperament now is not even correct from the perspective of modern
practice. It might certainly be the case in dodecaphonic or free atonal
music that the question of note spelling is largely a practical one, but in
almost any other case musical considerations can't be avoided, and your
argument that people *shouldn't* care about these questions dismisses a
whole part of music that matters to people (myself included, and I don't
even *use* flats and sharps) a great deal. Please refrain.

Instead of blithely spreading ignorance, please exercise some humility
about the limits of your knowledge (something I, whom you would probably
regard as some kind of "expert" for no other reason than because that's my
degree, freely admit about myself [namely, that I know extremely little and
could do to know more]), and make use of any of the numerous texts that can
provide a good overview of the WTC, or music history/theory in general,
accessible and enjoyable even to the hobbyist.


To prevent myself from senseless discussions as a music hobbyist I will
> ignore future discussions of the experts. I do not think that makes sense
> on the basis of equally tempered scale that disturbes any musical feelings.
> Therefor I like string quartets!


What does this even mean?  The implication is that a hobbyist's level of
understanding is not only desirable, but that being an "expert" somehow
diminishes a love of music (you might write this equally well as, "I'm not
going to waste time on pointless academic debate; I just want to enjoy
music!"), which is not only arguably wrong as a question of fact, but is
both insulting to the people who have dedicated their lives and careers to
the pursuit, and implies a contempt in general of, well, "knowing things."
Again, please refrain.

This was a discussion about a simple matter of how Lily orders accidentals
in a key signature, and from your very first reply you dismiss the
discussion as unimportant, and argue that people shouldn't bother with it,
because your hobbyist's understanding, it seems to be your view, should be
enough. In the future, please don't walk into discussions on topics which
you yourself admit aren't of interest to you and muddle them. It doesn't
help anybody, and causes a lot of unnecessary unpleasantness.

-A
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Re: duration longer than meter?

[N. Andrew Walsh]

Bernhard, I'm not sure to what your first statement refers, but regarding
the second, the issue here is that Vivyan is reading the measure wrong.
There are two parallel voices in the linked image:


On Sat, Feb 3, 2018 at 8:14 PM, Vivyan 
 wrote:

>
> This excerpt is from Gymnopedie which is in 3/4 but still, this notation is
> involved. I'm just trying to write it into lilypond.
>
>
One voice is the two dotted half notes; the other is the quarter-rest and
two quarters.

Vivyan, see NR 1.5.2:
http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices for
how to encode multiple voices in the same bar (and my previous message for
how to do cross-staff notes).

Cheers,

A
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Re: Piano staff notes across both staffs

[N. Andrew Walsh]

Hi Vivyan,

your example does not compile, failing with an error. You appear to be
using \crossStaff incorrectly; see NR 2.2.1:
http://lilypond.org/doc/v2.19/Documentation/notation/common-notation-for-keyboards
for the correct usage.

Cheers,

A

On Sat, Feb 3, 2018 at 8:10 PM, Vivyan 
wrote:

> I have been taught to set up piano staffs like so. But I can't work out why
> these two notes aren't crossing both staffs?
>
> [code]
> \version "2.19.80"
>
> \header {
>   title = "Composition Study I: Techniques"
>   composer = "Joel Ramsbottom"
>   tagline = ""  % removed
> }
>
> upper = \relative c'' {
>   \clef treble
>   \time 5/4
>   \tempo "Andante" 4 = 76
>r4
>   8
>
>   }
>
>  lower =  \relative c {
>   \clef bass
>   \time 5/4
>r4
>
>   \autoBeamOff
>   \crossStaff {*}
>
> }
>
> \score {
>   \new PianoStaff <<
>
> \set PianoStaff.instrumentName = #"Piano  "
> \new Staff = "upper" \upper
> \new Staff = "lower" \lower
>   >>
>   \layout {
> \context {
> \PianoStaff
> \consists #Span_stem_engraver
>   }
>   }
>   \midi { }
> }
>
> [\code]
>
>
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
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Re: Lilypond download from linux.audio

[N. Andrew Walsh]

Hi Dominique,

welcome to Lilypond! "linux.audio" doesn't even exist as a web address, so
I'm not sure how you got that. Lilypond's home is at http://lilypond.org/;
the download links are on the right.

Once you get settled, this list is an extremely helpful resource, so feel
free to ask with any questions.

Cheers,

A

On Thu, Feb 1, 2018 at 11:22 PM, domini...@cazeaux.org <
dominique.caze...@gmail.com> wrote:

> I want to download Lilypond, it is impossible, may be a problem ?
>
>
>
> --
> Dominique
>
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Re: tie polyphony

[N. Andrew Walsh]

Hi all,

might it be the case that your are encountering a similar issue to one I
posted a couple days ago (there, on the question of phrasing slurs in
multi-voice staves that cross over single-voice ones); namely, that are
trying to extend a slur across different contexts, so it fails.

On Wed, Jan 24, 2018 at 10:29 AM, Gianmaria Lari 
wrote:

> Of course you are right! I was talking about slur not tie!
>
> Anyway I'm not able to make any slur in that context. This is what I tried:
>
> \version "2.19.80"
> \fixed c' {
>   r4 a\( b d'
>   << {4\) 4 4 4} \\ c1 >>
> }
>
> g.
>

Try something like this instead:

 \version "2.19.80"
\fixed c' {
  << { r4 a\( b d' } \\ {s1} >>
  << {4\) 4 4 4} \\ c1 >>
}

and see if that works.

Cheers,

A

>
>
>
> On 24 January 2018 at 09:40, Marc Hohl  wrote:
>
>> Am 24.01.2018 um 09:31 schrieb Gianmaria Lari:
>>
>>> Hello,
>>>
>>> In the following code
>>>
>>> \version "2.19.80"
>>> \fixed c' {
>>>r4 a b d'
>>><< {4 4 4 4} \\ c1 >>
>>> }
>>>
>>> ... I would like to tie the "a" with the very first chord 4. How
>>> I can do it?
>>>
>>
>> That's not a tie then.
>>
>> IIUC, you'll need a phrasing slur for this: \(  \)
>>
>> HTH,
>>
>> Marc
>>
>>>
>>> Thank you, Gianmaria
>>>
>>>
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Re: GhostScript Fail (regression 2.19.17 to 2.19.18)

[N. Andrew Walsh]

Well, since we're all here, I might as well join in as well.

I was getting the same ghostscript error, and I fixed it by doing the
following:

Editing the /usr/share/ghostscript/9.20/Resource/Init/Fontmap file to
comment out the line about local fontmaps results in successful compilation
and display.

change the ghostscript directory for the version you have installed. I have
to do this every time I update ghostscript, or I get error 256 on pdf
generation.

Hope this helps,

A

On Tue, Jan 23, 2018 at 10:17 AM, Urs Liska  wrote:

> Hi Andrew(s)
>
> Am 22.01.2018 um 23:07 schrieb Andrew Smith:
>
> I'm getting a failure all-around on a new Arch VM I'm running in my
> windows machine. I'm using lyp here to make a/b version testing easier.
> Basically, the gs command is failing when liilypond runs it but it works
> just fine when I copy/paste it and run it manually.
>
> 2.19.17 works, but 2.19.18 fails. Shell info + file is below.
> GhostScript system version is 9.22.
>
> https://gist.github.com/andrewcsmith/eb17a859e62921f3ad50a4c5298628e9
>
> This is urgent for me, as I don't have access to the old machine where
> this worked, and I have some libraries that use the recent font changes --
> thanks a lot.
>
>
> No guarantee it works for you, but I have a strong suspicion.
> When installing LilyPond the normal way from the downloaded archive it
> creates a wrapper command "lilypond" (usually as ~/bin/lilypond).
> This doesn't only call the lilypond executable but also adds
> export LD_LIBRARY_PATH=/path/to/lilypond/usr/lib:$LD_LIBRARY_PATH
>
> to make sure the libraries shipped with LilyPond are used and avoid such
> version mismatches with system libraries.
> I'm not sure how lyp invokes LilyPond but you should look into this (and
> maybe call LilyPond directly/through a custom wrapper script).
>
> We had to learn that with Frescobaldi too. Frescobaldi can manage
> arbitrary LilyPond installations, and by now it injects that library path
> (for the chosen LilyPond) in the invocation command.
>
> HTH
> Urs
>
>
> ```
> [vagrant@bazinga ly_test]$ lyp use 2.19.18
> Using Lilypond version 2.19.18
> [vagrant@bazinga ly_test]$ lyp compile test.ly
> Lyp 1.3.5
> GNU LilyPond 2.19.18
> Processing `/tmp/lyp/wrappers/test.ly'
> Parsing...
> Interpreting music...
> Preprocessing graphical objects...
> Finding the ideal number of pages...
> Fitting music on 1 page...
> Drawing systems...
> Layout output to `test.ps'...
> 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: "/tmp/lyp/wrappers/test.ly"
>
> [vagrant@bazinga ly_test]$ lyp use 2.19.17
> Using Lilypond version 2.19.17
> [vagrant@bazinga ly_test]$ lyp compile test.ly
> Lyp 1.3.5
> GNU LilyPond 2.19.17
> Processing `/tmp/lyp/wrappers/test.ly'
> Parsing...
> Interpreting music...
> Preprocessing graphical objects...
> Finding the ideal number of pages...
> Fitting music on 1 page...
> Drawing systems...
> Layout output to `test.ps'...
> Converting to `./test.pdf'...
> Success: compilation successfully completed
> ```
>
> File:
>
> \score {
> \new Voice {
> c'4 d' e' f'
> }
>
> \layout { }
> }
>
>
>
>
>
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Re: Phrasing slurs on two-voice stave

[N. Andrew Walsh]

Hi Ben,

On Mon, Jan 22, 2018 at 1:59 PM, Ben  wrote:
>
> Hi,
>
> Personally, I would probably want the slur on the bottom as it's cleaner
> and easier to implement,
>

yes, and also notationally superior. But the client is, alas! a
hobbyist-composer who does things for "expressive" reasons and insists they
should be that way (I once got nearly into a shouting match because he had
directly translated the German "Attacke" [which means something like
"strike hard"] to the Italian "attacca" [which, as we know, means "continue
without break to the next movement"] and wouldn't believe he couldn't use
the latter as an expressive marking until I made him look it up in his
music dictionary). I would also point out that he puts a phrasing slur on
*every* phrase, throughout the piece, so this is a recurring issue. Sigh.


> but I guess you could play around and offset the slur to taste...
> [see attached]
>
>
Ah, thank you. And I also see that it's in the NR at 5.5.4. Very helpful!
Am I correct in assuming that (phrasing)slurs are bezier curves, and thus
the four control points listed for \shape behave the way bezier-curve
control points do?

Thanks again,

A
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Phrasing slurs on two-voice stave

[N. Andrew Walsh]

Hi List,

I have the following:

-
\version "2.19.80"

\relative c {
  \clef bass
  \time 4/8
 <<
   { \stemDown d16\( f a f d a' f d\) }
   \\
   { \stemUp d8. f16 d4 }
 >>

}
-

What I'm trying to do is ensure that the phrasing slur extends to the last
note of the bar. Problem is, the client wants the 16th notes on the lower
voice, but the slur above. I've been using \stemDown and \stemUp to flip
the stem directions, but this causes problems, as here, where the slur
collides with the other voice's stems. Is there a more elegant/effective
way of doing this? It also has to work for phrasing slurs across several
measures.

Cheers,

A
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