Re: (No subject)

[Gian Paolo Renello]

Thank you for this example which explains me lot of things. Also I found the solution with the model Aikema proposed, that is  when you write the music voices (soprano, alto or what else in another part of the file you should give them the same name of the new voice you write in the \score part. I didn't noticed this before, that's why i couldn't see the soprano texts My socre has 2 voices soprano voices as well alto tenor and bass. So is : soprano = \relative c'' {    \global    % Qui segue la musica.    <<        \new Voice  = "sopranoVoice" {            \voiceOne            a2^\p^\< (b4 c|         % m1            %\override Hairpin.to-barline = ##f            d4) c\! b^\>  a |     % m2            a1  |            % m3            a\! |            % m4            \override Hairpin.to-barline = ##fetc. .. and then in the \score part:  \score{    \new StaffGroup <<        \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }      \new Lyrics \with { alignAboveContext = "sopranoStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }    \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru    \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse . Now i learned two ways of achieving this goal. Thank you all again  Gian Paolo22.04.2024, 05:19, "David Wright" :On Sun 21 Apr 2024 at 18:45:35 (+0200), Hans Aikema wrote: > On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote: >  > I read as you suggested but didn't find the way. Here is hte piece of score code: >   > \score{ > \new StaffGroup << > \new Staff \with { > midiInstrument = "choir aahs" > instrumentName = "Soprani" > } { \soprano } > \addlyrics {\sopranoVerse_sup} > \addlyrics { \sopranoVerse_ru } > \addlyrics { \sopranoVerse } >    You can’t use the \addlyrics shortcut when you want to place the lyrics above the staff. You’ll have to use the \new Lyrics construct (as shown in the notation manual) for those lyrics.I have no problem using \addlyrics above the staff. The attachedshows an example, with verses 1 and 2 aligned to the soprano,and verses 3, 4 and 5 to the alto, tenor and bass respectively.(You wouldn't do it like this for a strophic hymn, but if you excludeverse 2, it illustrates a layout for a 4-part non-homophonic composition.) \addlyrics is very limited in customisation power, it’s a shorthand for creating the new Lyrics to the preceding voice (the music in between the braces ( {\soprano} ) implicitly creates an unnamed voice.But its placement can refer to the staves, as you appeared to say earlier: > The preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.Cheers,David.

Re: (No subject)

[David Wright]

On Sun 21 Apr 2024 at 18:45:35 (+0200), Hans Aikema wrote:
> > On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote:
> > 
> > I read as you suggested but didn't find the way. Here is hte piece of score 
> > code:
> >  
> > \score{
> > \new StaffGroup <<
> > \new Staff \with {
> > midiInstrument = "choir aahs"
> > instrumentName = "Soprani"
> > } { \soprano }
> > \addlyrics {\sopranoVerse_sup}
> > \addlyrics { \sopranoVerse_ru }
> > \addlyrics { \sopranoVerse }
> >  
> 
> You can’t use the \addlyrics shortcut when you want to place the lyrics above 
> the staff. You’ll have to use the \new Lyrics construct (as shown in the 
> notation manual) for those lyrics.

I have no problem using \addlyrics above the staff. The attached
shows an example, with verses 1 and 2 aligned to the soprano,
and verses 3, 4 and 5 to the alto, tenor and bass respectively.

(You wouldn't do it like this for a strophic hymn, but if you exclude
verse 2, it illustrates a layout for a 4-part non-homophonic composition.)

> \addlyrics is very limited in customisation power, it’s a shorthand for 
> creating the new Lyrics to the preceding voice (the music in between the 
> braces ( {\soprano} ) implicitly creates an unnamed voice.

But its placement can refer to the staves, as you appeared to say earlier:

> > The preferred way is by coding the '\with { alignAboveContext = “ > the staff>” }` to the Lyrics assigned to the Solo in your piece.

Cheers,
David.
\version "2.24.0"
\language english
\header {
  tagline = ##f
}
global = {
  \key g \major
  \time 4/4
  \partial 2
  s2 s1 s2
  s2 s1 s2
  \bar "" \break
}

soprano = \relative {
  d'4 fs g4. g8 g[( fs]) g[( a]) a4 g
  g4 b d4. b8 b[( a]) g[( fs]) g2
}

alto = \relative {
  d'4 c d4. d8 d4 d8[( fs]) fs4 g4
  d4 g g4. g8 e4 d d2
}

tenor = \relative {
  b4 a g4. b8 b[( a]) b[( c]) c4 b
  b4 g g4. d'8 d[( c]) b[( a]) b2
}

bass = \relative {
  g,4 a b4. g8 d'4 d d g
  g4 e b4. g8 c4 d g,2
}

texti = \lyricmode {
  \set stanza = "1."
  Once in roy -- al Da -- vid’s Ci -- ty
  Stood a low -- ly cat -- tle __ shed,
}

textii = \lyricmode {
  \set stanza = "2."
  He came down to earth from hea -- ven
  Who is God and Lord of __ all,
}

textiii = \lyricmode {
  \set stanza = "3."
  And through all his won -- drous child -- hood
  He would hon -- our and o -- bey,
}

textiv = \lyricmode {
  \set stanza = "4."
  For he is our child -- hood’s pat -- tern,
  Day by day like us __ he __ grew;
}

textv = \lyricmode {
  \set stanza = "5."
  And our eyes at last shall see him
  Through his own re -- deem -- ing love,
}

\score {
  \new ChoirStaff <<
\new Staff = streb <<
  \clef treble \global
  \new Voice { \voiceOne \soprano }
  \addlyrics \with { alignAboveContext = streb } { \texti }
  \addlyrics { \textii }
  \new Voice { \voiceTwo \alto }
  \addlyrics { \textiii }
>>
\new Staff = sbass <<
  \clef bass \global
  \new Voice { \voiceOne \tenor }
  \addlyrics \with { alignAboveContext = sbass } { \textiv }
  \new Voice { \voiceTwo \bass }
  \addlyrics { \textv }
>>
  >>
  \layout {
indent = 0
\context {
  \Staff
  \omit TimeSignature
}
  }
}


once.pdf
Description: Adobe PDF document

Re: (No subject)

[Xavier Scheuer]

On Sun, 21 Apr 2024 at 20:44, Gian Paolo Renello 
wrote:
>
> Your right, thanks.  I noticed it and changed as well in my code, but the
problem won't solve (see previous mail about the context)

Hello,

The Lyrics should come after the \new Voice = "sopranoVoice".
If you get an error please send a minimal example of code showing the issue.

Kind regards,
Xavier

Re: (No subject)

[Gian Paolo Renello]

Your right, thanks.  I noticed it and changed as well in my code, but the problem won't solve (see previous mail about the context) GP21.04.2024, 19:12, "Hans Aikema" :Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAboveContext. Both have now been synchronised to "sopranoStaff" belowOn 21 Apr 2024, at 18:46, Hans Aikema  wrote:On 21 Apr 2024, at 17:58, Gian Paolo Renello  wrote:I read as you suggested but didn't find the way. Here is hte piece of score code: \score{    \new StaffGroup <<        \new Staff \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }        \addlyrics {\sopranoVerse_sup}        \addlyrics { \sopranoVerse_ru }        \addlyrics { \sopranoVerse } You can’t use the \addlyrics shortcut when you want to place the lyrics above the staff. You’ll have to use the \new Lyrics construct (as shown in the notation manual) for those lyrics.\score{    \new StaffGroup <<        \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \new Voice = "sopranoVoice" { \soprano } }        \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerseShould do the trick if I didn’t mess up the syntax (cannot validate as you provided only the opening snippet, but the transition from \addlyrics to \new Lyrics is required to specify the alignAboveContext)\addlyrics is very limited in customisation power, it’s a shorthand for creating the new Lyrics to the preceding voice (the music in between the braces ( {\soprano} ) implicitly creates an unnamed voice. In order to be able to use the \new Lyrics you also need to explicitly create the voice and give it a name to be able to reference it using the \lyricstoall the three texts are printed under soprano staff. But what i need is \sopranoVerse_sup printed over the soprano staff since there are two voices (sop I and II) and the don't sing  the same text. Amy idea? the alignabovecontext Staff won't work inside \addlyrics tx for your attention Gian Paolo11.04.2024, 18:54, "Hans Aikema" :On 11 Apr 2024, at 16:59, Gian Paolo Renello  wrote:Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you.There are some examples on lyrics placement documented at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyricsFor your score you would put two voices (Solo and Sopranos) in the Sopranos staff https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphonyand put the lyrics attached to the Solo above that staff, and the lyrics attached to the Sopranos below it. The location of each lyric can be controlled individually as documented on that page at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-verticallyThe preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.HTHHans

Re: (No subject)

[Gian Paolo Renello]

this part of code: \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \new Voice = "sopranoVoice" { \soprano } } works well, but the second part:  \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse give me always the same errorthat is unable to find the context  Voice = sopranoVoice\new Lyrics \with { alignAboveContext = "sopranoStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup } and the same for  the context Voice = sopranoVoicefor all the \liricsto the other verses... \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru so the verses for soprano wont show... Gian Paolo21.04.2024, 19:12, "Hans Aikema" :Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAboveContext. Both have now been synchronised to "sopranoStaff" belowOn 21 Apr 2024, at 18:46, Hans Aikema  wrote:On 21 Apr 2024, at 17:58, Gian Paolo Renello  wrote:I read as you suggested but didn't find the way. Here is hte piece of score code: \score{    \new StaffGroup <<        \new Staff \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }        \addlyrics {\sopranoVerse_sup}        \addlyrics { \sopranoVerse_ru }        \addlyrics { \sopranoVerse } You can’t use the \addlyrics shortcut when you want to place the lyrics above the staff. You’ll have to use the \new Lyrics construct (as shown in the notation manual) for those lyrics.\score{    \new StaffGroup <<        \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \new Voice = "sopranoVoice" { \soprano } }        \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerseShould do the trick if I didn’t mess up the syntax (cannot validate as you provided only the opening snippet, but the transition from \addlyrics to \new Lyrics is required to specify the alignAboveContext)\addlyrics is very limited in customisation power, it’s a shorthand for creating the new Lyrics to the preceding voice (the music in between the braces ( {\soprano} ) implicitly creates an unnamed voice. In order to be able to use the \new Lyrics you also need to explicitly create the voice and give it a name to be able to reference it using the \lyricstoall the three texts are printed under soprano staff. But what i need is \sopranoVerse_sup printed over the soprano staff since there are two voices (sop I and II) and the don't sing  the same text. Amy idea? the alignabovecontext Staff won't work inside \addlyrics tx for your attention Gian Paolo11.04.2024, 18:54, "Hans Aikema" :On 11 Apr 2024, at 16:59, Gian Paolo Renello  wrote:Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you.There are some examples on lyrics placement documented at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyricsFor your score you would put two voices (Solo and Sopranos) in the Sopranos staff https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphonyand put the lyrics attached to the Solo above that staff, and the lyrics attached to the Sopranos below it. The location of each lyric can be controlled individually as documented on that page at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-verticallyThe preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.HTHHans

Re: (No subject)

[Hans Aikema]

Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAboveContext. Both have now been synchronised to "sopranoStaff" belowOn 21 Apr 2024, at 18:46, Hans Aikema  wrote:On 21 Apr 2024, at 17:58, Gian Paolo Renello  wrote:I read as you suggested but didn't find the way. Here is hte piece of score code: \score{    \new StaffGroup <<        \new Staff \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }        \addlyrics {\sopranoVerse_sup}        \addlyrics { \sopranoVerse_ru }        \addlyrics { \sopranoVerse } You can’t use the \addlyrics shortcut when you want to place the lyrics above the staff. You’ll have to use the \new Lyrics construct (as shown in the notation manual) for those lyrics.\score{    \new StaffGroup <<        \new Staff = "sopranoStaff" \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \new Voice = "sopranoVoice" { \soprano } }        \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoice" \sopranoVerse_sup }        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru        \new Lyrics \lyricsto "sopranoVoice" \sopranoVerseShould do the trick if I didn’t mess up the syntax (cannot validate as you provided only the opening snippet, but the transition from \addlyrics to \new Lyrics is required to specify the alignAboveContext)\addlyrics is very limited in customisation power, it’s a shorthand for creating the new Lyrics to the preceding voice (the music in between the braces ( {\soprano} ) implicitly creates an unnamed voice. In order to be able to use the \new Lyrics you also need to explicitly create the voice and give it a name to be able to reference it using the \lyricstoall the three texts are printed under soprano staff. But what i need is \sopranoVerse_sup printed over the soprano staff since there are two voices (sop I and II) and the don't sing  the same text. Amy idea? the alignabovecontext Staff won't work inside \addlyrics tx for your attention Gian Paolo11.04.2024, 18:54, "Hans Aikema" :On 11 Apr 2024, at 16:59, Gian Paolo Renello  wrote:Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you.There are some examples on lyrics placement documented at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyricsFor your score you would put two voices (Solo and Sopranos) in the Sopranos staff https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphonyand put the lyrics attached to the Solo above that staff, and the lyrics attached to the Sopranos below it. The location of each lyric can be controlled individually as documented on that page at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-verticallyThe preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.HTHHans

Re: (No subject)

[Hans Aikema]

> On 21 Apr 2024, at 17:58, Gian Paolo Renello  wrote:
> 
> I read as you suggested but didn't find the way. Here is hte piece of score 
> code:
>  
> \score{
> \new StaffGroup <<
> \new Staff \with {
> midiInstrument = "choir aahs"
> instrumentName = "Soprani"
> } { \soprano }
> \addlyrics {\sopranoVerse_sup}
> \addlyrics { \sopranoVerse_ru }
> \addlyrics { \sopranoVerse }
>  

You can’t use the \addlyrics shortcut when you want to place the lyrics above 
the staff. You’ll have to use the \new Lyrics construct (as shown in the 
notation manual) for those lyrics.

\score{
\new StaffGroup <<
\new Staff = "sopranoStaff" \with {
midiInstrument = "choir aahs"
instrumentName = "Soprani"
} { \new Voice = "sopranoVoice" { \soprano } }
\new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto 
"sopranoVoice" \sopranoVerse_sup }
\new Lyrics \lyricsto "sopranoVoice" \sopranoVerse_ru
\new Lyrics \lyricsto "sopranoVoice" \sopranoVerse

Should do the trick if I didn’t mess up the syntax (cannot validate as you 
provided only the opening snippet, but the transition from \addlyrics to \new 
Lyrics is required to specify the alignAboveContext)

\addlyrics is very limited in customisation power, it’s a shorthand for 
creating the new Lyrics to the preceding voice (the music in between the braces 
( {\soprano} ) implicitly creates an unnamed voice. In order to be able to use 
the \new Lyrics you also need to explicitly create the voice and give it a name 
to be able to reference it using the \lyricsto


> all the three texts are printed under soprano staff. But what i need is 
> \sopranoVerse_sup printed over the soprano staff since there are two voices 
> (sop I and II) and the don't sing  the same text.
>  
> Amy idea? the alignabovecontext Staff won't work inside \addlyrics
>  
> tx for your attention
>  
> Gian Paolo
> 
> 
> 11.04.2024, 18:54, "Hans Aikema" :
> 
> 
> On 11 Apr 2024, at 16:59, Gian Paolo Renello  > wrote:
> 
> Hi, i have a question:
> ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices 
> are all under the staff. I need the fifth one to be over the Soprano staff 
> while the second soprano voices sings the part under the staff. See attached 
> image. Thank you.
> 
> There are some examples on lyrics placement documented at 
> https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics
>  
> 
> 
> For your score you would put two voices (Solo and Sopranos) in the Sopranos 
> staff 
> https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphony
> 
> and put the lyrics attached to the Solo above that staff, and the lyrics 
> attached to the Sopranos below it. The location of each lyric can be 
> controlled individually as documented on that page at 
> https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-vertically
> 
> The preferred way is by coding the '\with { alignAboveContext = “ staff>” }` to the Lyrics assigned to the Solo in your piece.
> 
> 
> HTH
> 
> Hans
> 

Re: (No subject)

[Gian Paolo Renello]

I read as you suggested but didn't find the way. Here is hte piece of score code: \score{    \new StaffGroup <<        \new Staff \with {            midiInstrument = "choir aahs"            instrumentName = "Soprani"        } { \soprano }        \addlyrics {\sopranoVerse_sup}        \addlyrics { \sopranoVerse_ru }        \addlyrics { \sopranoVerse } all the three texts are printed under soprano staff. But what i need is \sopranoVerse_sup printed over the soprano staff since there are two voices (sop I and II) and the don't sing  the same text. Amy idea? the alignabovecontext Staff won't work inside \addlyrics tx for your attention Gian Paolo11.04.2024, 18:54, "Hans Aikema" :On 11 Apr 2024, at 16:59, Gian Paolo Renello  wrote:Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you.There are some examples on lyrics placement documented at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyricsFor your score you would put two voices (Solo and Sopranos) in the Sopranos staff https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#single_002dstaff-polyphonyand put the lyrics attached to the Solo above that staff, and the lyrics attached to the Sopranos below it. The location of each lyric can be controlled individually as documented on that page at https://lilypond.org/doc/v2.24/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-verticallyThe preferred way is by coding the '\with { alignAboveContext = “” }` to the Lyrics assigned to the Solo in your piece.HTHHans

[no subject]

[Gian Paolo Renello]

Hi, i have a question:ho can i add a 5th voice (for soprano) in a SATB choral work. The 4 voices are all under the staff. I need the fifth one to be over the Soprano staff while the second soprano voices sings the part under the staff. See attached image. Thank you. Gian Paolo  

[no subject]

[Gian Paolo Renello]

Hi, I am new to lilypond, using Frescobaldi.I read manuals and other stuff but i am not able to repduce with lilypond such a score: There are 8 voices plus the oktavist.The lirycs are above the soprano, for voice 1 and under soprano for voice 2. The same happens for Alto and Tenor voices (when the are 2). The basso voices have the same vocal part so it is placed between the 2 basso's starves. Moreover I should have to add a transliteration under each line in russian.Can you just show me how to write these fragments so that eventually I can understand and arrange all the score?? Thanks all a lot

Re: Voice leading (subject changed here as a demo)

[Jean Abou Samra]

> Le 27 août 2023 à 16:32, Knute Snortum  a écrit :
> 
> I think for the emails to thread, the subject lines must be the same (after 
> Re:).


This is not required. Each message contains an identifier (the Message-Id 
field, if you look at the raw email source), and if it's a reply, the 
identifier of the message it's replying to (the In-Reply-To header). All decent 
mail clients will will recognize these for the threading (though some clients 
like Evolution also have an option to fall back on subject-based threading, to 
cope with bad emails that lack the headers in question).

The takeaway here is that "Reply" on an existing email and "New message" do 
different things even if the email subject, recipients and body are the same. 
If you want to reply in a thread, just use the "Reply" button in that thread.

Re: Subject: Re: Lilypond in Termux (Android)

[Hajo Baess]

Thank you very much for this step-by-step guide. I followed the
instructions, and now I can also write Lily files on my mobile. Not the
most comfortable thing, but very useful for little things on the fly
anyway! With a Bluetooth keyboard it's certainly much better, but for a
first try I really used my built-in mobile keyboard, and that was a bit
awkward. I wrote something small, it compiled allright, and I even
could print it on my wifi printer.

Cool thing! Maybe I will find a better text editor, but even nano is
available in Termux. For a long-time Linux user it makes you really
feel at home ;-)


Am Freitag, dem 03.02.2023 um 21:25 +0100 schrieb gmail:
> Hi, I tried the tips given by Martin Tarenskeen and thought that a
> small 
> sample guide may be useful for other users.
> 
> Open PlayStore > search app Termux >
> Open the terminal Termux and write: pkg install guile
> 
> Then write: pkg install lilypond
> LilyPond 2.24.0 will be installed
> 
> Create a new directory: mkdir lilypond2.24
> Create a new file: touch file1.ly
> 
> The directory where Termux put folder and file created is: data 
> /data/com.termux/files/home
> but it is not visible from android file manager.
> 
> Open PlayStore and download Material Files and start it, give all 
> permissions.
> Click the 3 dots at the top of dx to do "Add Storage > External
> Storage".
> 
> At this point the Termux folder appears. Open it and manipulate the 
> files. Once you open the folder "LilyPond2.24" do "Use this folder",
> and 
> from now on the folder path will appear in the side menu of Material
> Files.
> 
> Open the previously created file from here file1.ly and fill in the 
> lilypond code to compose the sheet music and save it.
> 
>  From Termux terminal go to the director lilypond2.24 where is
> located 
> file.ly, then compile it from terminal: $ lilypond file.ly
> Output a pdf in the same folder lilypond2.24 with the compiled sheet
> music.
> 
> I tested and it works.

Subject: Re: Lilypond in Termux (Android)

[gmail]

Hi, I tried the tips given by Martin Tarenskeen and thought that a small 
sample guide may be useful for other users.


Open PlayStore > search app Termux >
Open the terminal Termux and write: pkg install guile

Then write: pkg install lilypond
LilyPond 2.24.0 will be installed

Create a new directory: mkdir lilypond2.24
Create a new file: touch file1.ly

The directory where Termux put folder and file created is: data 
/data/com.termux/files/home

but it is not visible from android file manager.

Open PlayStore and download Material Files and start it, give all 
permissions.

Click the 3 dots at the top of dx to do "Add Storage > External Storage".

At this point the Termux folder appears. Open it and manipulate the 
files. Once you open the folder "LilyPond2.24" do "Use this folder", and 
from now on the folder path will appear in the side menu of Material Files.


Open the previously created file from here file1.ly and fill in the 
lilypond code to compose the sheet music and save it.


From Termux terminal go to the director lilypond2.24 where is located 
file.ly, then compile it from terminal: $ lilypond file.ly

Output a pdf in the same folder lilypond2.24 with the compiled sheet music.

I tested and it works.

[no subject]

[Volodymyr Prokopyuk]

Hello,


*Problem*

I have got an extra treble clef on the second Staff when using a PianoStaff
with two \clef bass staves. See the example below

*Example*

\version "2.23.14"

\score {
  \new PianoStaff = bayan {
<<
  \new Staff = rightHand {
\tempo Lento
\clef bass
\key c \minor
\time 2/4
\relative {
  \acciaccatura { g=16 a b } c='2->\mp |
}
  }
  \new Staff = leftHand {
\clef bass
\key c \minor
\relative { c=2 | }
  }
>>
  }
}

[image: image.png]
However, when the \acciaccatura is removed, the treble clef disappears,
producing the desired result. Why does the \acciaccatura add the extra
unwanted treble clef? What can be done to have the \acciaccatura and
continue with two bass cleves?

Thank you,
Vlad

[no subject]

[Лысов Дмитрий]

Как определить в define-scheme-function аргументы "lyricup" и "lyricdown", чтобы их значения брались из данных \makeScore? При этом у верхней и нижней строк текста должны быть заданы разные шрифты. \version "2.22.1"   \header {   title = "Сборник мелодических формул знаменного распева"   composer= "Штейнберг Б."  poet = "Москва, 2017"} \paper {  #(set-paper-size "a4")  tagline=##f  ragged-right = ##t  myStaffSize = #21  #(define fonts (make-pango-font-tree                  "Ponomar Unicode"                  "Ponomar Unicode"                  "Ponomar Unicode"                  (/ myStaffSize 21)))} \layout {  indent = 0.0   \context {    \Lyrics     \override LyricText #'font-size = #4     \override LyricText #'font-name = #"Ponomar Unicode"     \override LyricSpace.minimum-distance = #0.8   }   \context {     \Score     \override SpacingSpanner.spacing-increment = 0.5  }  \context {     \KievanVoice     \stemDown     fontSize = 1.0  }}  \midi {   \context {     \Score     tempoWholesPerMinute = #(ly:make-moment 110 2)   }   \context {     \Staff     \remove Staff_performer   }   \context {     \Voice     \remove Staff_performer   }} makeScore =#(define-scheme-function (mark notes lyricup lyricdown) (markup? ly:music? markup? markup?)    #{      \score {        \header {piece = \markup { Название }}        <<          \new KievanStaff  = slavonic           <<          \new KievanVoice = "melody"             \relative c' {              \cadenzaOn              \mark #mark              #notes              \bar "|"            }          >>                  \new Lyrics         \lyricsto "melody"         {а п р ц} %lyricup                 \new Lyrics \with {alignAboveContext = slavonic}         \lyricsto "melody"         {b b b b} %lyricdown                 >>         \layout { }        %\midi { }      }    #}) \markup { \fill-line \huge { "Глас 1" }}\markup { \fill-line \huge { "Начальные" }}\makeScore "Удра" {e4 c d f e d c d e d e1} "mi do re fa" "E C D F"\markup { \fill-line \huge { "Конечные" }} \makeScore "Удра" {e4 c d f e d c d e d e1} "mi do re fa" "E C D F"\markup { \fill-line \huge { "Срединные" }}\makeScore "Дербица или скорпица" {e4 f g a a g2.} "mi fa sol la" "E F G A"

[no subject]

[Philippe ZELLER]

Dear lilypond fellow users,
it sometimes occurs in barock music that only every other barline is
visible, (see e.g. Haendel's Salomo, choir at the end of Act II ) or that
every other barline is printed in reduced size.(see e.g. Bach Mass in
H-moll, nr 27 "dona nobis pacem" ).
Is there a way to get this result in lilypond ?

I first tried
\set Score.barLineVisibility = #(every-nth-bar-number-visible 2)
that I made up after an equivalent syntax for barNumber, but to no avail.
Maybe I didn't put it in the right context ?

Finally I used a rather complicated procedure based on
global = {
  \repeat unfold 24 { s2. \once \override Staff.BarLine.transparent =
##t  s2. \once \override Staff.BarLine.transparent = ##f }
}
which works but is not fully compatible, for example it does not work with
multiMeasureRests.

Many thanks in advance for your suggestions !

[no subject]

[ming tsang]

Starting lilypond-windows.exe 2.21.4 [the-conflict-of-the-ages.ly]...

Processing `C:/Users/yming
tsang/Documents/CHOIR_2020/the-conflict-of-the-ages/
the-conflict-of-the-ages.ly'

Parsing...

Interpreting music...

Preprocessing graphical objects...

Interpreting music...

fatal error: cannot create temp file: the-conflict-of-the-ages.mid. 2365:
Invalid argument

Exited with return code 1.


Hi, lilyponders:

How to resolve the above error message? I did not find any .mid file in my
pc.

Thanks for the help.

Ming.



-- 
ming (lyndon) tsang

[no subject]

[Stefan Thomas]

Dear community,
the following code is very old, written by Rune Zedeler, but it is very
useful.
It allows You define a motive like:
\motiv #'Stefan {c'8 d' c' d' e2}
and later it can be used like this:
\Stefan {e f g }
and You will get
{e8 f e f g2 }
it can save a lot of typing.
Unfortunately it doesn't seem to work with lilypond 2.20.0
Has someone an idea, how I can get it working with lilypond 2.20.0?
Thanks in advance for any hint!
Here is the definition, that works with 2.18.2.:
motiv =
#(define-music-function (name pattern)
  (symbol? ly:music?)
  (letrec ((trans-rec
   (lambda (pitches)
(lambda (music)
 (let* ((es (ly:music-property music 'elements))
(e (ly:music-property music 'element))
(p (ly:music-property music 'pitch)))

  (if (pair? es)
(ly:music-set-property!
music 'elements
(map (trans-rec pitches) es)))

  (if (ly:music? e)
(ly:music-set-property!
music 'element
((trans-rec pitches) e)))

  (if (ly:pitch? p)
(let* ((o (ly:pitch-octave p))
  (n (ly:pitch-notename p))
  (i (+ (* 7 o) n))
  (pes (ly:music-property (list-ref pitches i) 'elements))
  (pnew (ly:music-property (car pes) 'pitch))
)
(ly:music-set-property! music 'pitch pnew)
  ))
  music)
   (primitive-eval
`(define ,name
  (define-music-function (parserb locationb pitchseq)
   (ly:music?)
   (let* ((pitches (ly:music-property pitchseq 'elements))
 (n   (ly:music-property pitchseq 'name)))
(if (not (equal? n 'SequentialMusic))
(ly:warning "2nd arg of transform must be SequentialMusic, got ~a" n)
((,trans-rec (map event-chord-wrap! pitches))
  (ly:music-deep-copy ,pattern)))
   (make-music 'SequentialMusic 'void #t)))

Re: Fyi: this list, lilypond-user, just had it's subject [tag] and footer removed

[Andrew Bernard]

It's the most controversial topic I know!

Andrew


On Fri, 25 Oct 2019 at 14:08,  wrote:

> On Fri, 25 Oct 2019, Andrew Bernard wrote:
> > complex part of this, along with SPF and DKIM. The change that is being
> made
> > here is clearly necessary to me, and explains some of the list issues
> people
> > were having lately. Sadly, it's probably unintelligible to non-experts.
>
> I run a mail server too, and I think From: munging is a better solution.
>
>

Re: Fyi: this list, lilypond-user, just had it's subject [tag] and footer removed

[mskala]

On Fri, 25 Oct 2019, Andrew Bernard wrote:
> complex part of this, along with SPF and DKIM. The change that is being made
> here is clearly necessary to me, and explains some of the list issues people
> were having lately. Sadly, it's probably unintelligible to non-experts.

I run a mail server too, and I think From: munging is a better solution.

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/

Re: Fyi: this list, lilypond-user, just had it's subject [tag] and footer removed

[Andrew Bernard]

I have been setting up a server for a mailing list I created for
harpsichord discussion. It took three months full time work by me to set up
all the open source software. So I have deep knowledge of this area
currently. A large part of the technical difficulty is actually getting
mails out through the complex world of spam blacklists, and DMARC is a huge
and very difficult and complex part of this, along with SPF and DKIM. The
change that is being made here is clearly necessary to me, and explains
some of the list issues people were having lately. Sadly, it's probably
unintelligible to non-experts.

But classifying mail into folders for this list is trivial - just make a
filter rule on the To: header. I have used that just fine for years. Any
mailer can do that nowadays.

Andrew

Re: Fyi: this list, lilypond-user, just had its subject [tag] and footer removed

[Brian Barker]

At 21:38 24/10/2019 -0400, Matthew Skala wrote:

On Thu, 24 Oct 2019, sysad...@gnu.org wrote:
Any list administrator for this list is free to change these 
settings back, instructions are below.


I hope that it will be changed back. The subject tag is useful for 
automatic categorization of incoming messages.


But surely this list currently had no subject *tag*?

Brian Barker  

Re: Fyi: this list, lilypond-user, just had it's subject [tag] and footer removed

[mskala]

On Thu, 24 Oct 2019, sysad...@gnu.org wrote:
> Any list administrator for this list is free to change these settings
> back, instructions are below.

I hope that it will be changed back.  The subject tag is useful for
automatic categorization of incoming messages.

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/

Fyi: this list, lilypond-user, just had it's subject [tag] and footer removed

[sysadmin]

The Free Software Foundation has changed the GNU Mailman settings on
this list. The short version is that any subject prefix or message
footer has been removed, allowing us to turn off DMARC from munging.
Any list administrator for this list is free to change these settings
back, instructions are below.

The change is to better deal with increased adoption of the DMARC email
standard. The default Mailman settings were causing messages sent from
users with strict DMARC policy domains like yahoo.com to be rejected
when sent to list subscribers by Mailman. See the end of this email for
a technical overview of DMARC and DKIM. There are two main ways to fix
the issue by changing Mailman list settings.

The first option, and the preferable way for discussion lists, is what
we call the "unmodified message fix." There are Mailman list settings
which modify the messages by adding a subject prefix (e.g. [list-name])
or a footer. Modifying the message breaks DKIM message signatures and
thus DMARC, so we just turn those off. Many lists are already this way
and there is no change for them. Instead of using the subject prefix to
identify a list, subscribers should use the List-Id, To, and Cc headers.
List footer information can also be be put in the welcome email to
subscribers and the list information page by list administrators.

We changed the default for new lists to send unmodified messages, and
are now updating existing discussion lists to the new default. We
emailed all list administrators and moderators and Savannah group admins
to allow them to opt in to the alternate fix before we made this
change. However, not all lists had a valid administrator contact.

The second option is for lists which want or need to continue to modify
the message, for example with subject prefix or footer settings. In this
case we turn on a Mailman list setting called dmarc_moderation_action:
"Munge From". With this, if a strict DMARC sender sends to the list, we
alter the headers of that message like so:

A message sent to the list:

From: Anne Example Person 

Is modified by Mailman and sent to subscribers as:

From: Anne Example Person via Alist 
Reply-To: Anne Example Person 

Without going into all of the details, here's a few points about why we
concluded the unmodified message fix is better for discussion
lists. Email clients don't all treat munged messages the same way as
unmunged, and humans read these headers so it can confuse people,
causing messages not to be sent to the expected recipients. GNU Mailman
has an option to do "Munge From" always, but does not recommend using
it[1]. While we're not bound by what others do, it's worth noting that
other very large free software communities like Debian GNU/Linux have
adopted the unmodified message fix[2]. The unmodified messages fix
avoids breaking DKIM cryptographic signatures, which show the message
was authorized by the signing domain and seems like a generally good
security practice. Tools to manage patches, for example patchew, use the
from field and are tripped up by from munging.

For any Mailman list administrator who wants to change or look over the
relevant settings: The dmarc_moderation_action setting is under "Privacy
Options" subsection "Sender Filters". The only options that should be
selected are "Accept" or "Munge From", along with corresponding changes
to the subject_prefix option under "General Options", and msg_footer is
under "Non-digest options".

If no list administrators or moderators are around for this list, anyone
should feel free to try to track them down or figure out who should
become one and explain in detail by replying to sysad...@gnu.org. Please
be patient, this process may take several weeks.

Please send any questions that should be public to mail...@gnu.org. For
private ones, just reply to sysad...@gnu.org.

For the general announcement of these changes, please read
https://lists.gnu.org/archive/html/savannah-hackers-public/2019-06/msg00018.html
and
https://lists.gnu.org/archive/html/savannah-hackers-public/2019-09/msg00016.html


A short DMARC technical overview:

DMARC policy is a DNS txt record at a _dmarc subdomain. For example:

$ host -t txt _dmarc.yahoo.com
_dmarc.yahoo.com descriptive text "v=DMARC1; p=reject; pct=100;
rua=mailto:address@hidden;;;

The only important thing there for our purpose is p=reject. p=reject
means that conforming mail servers that receive mail with a from header
of *@yahoo.com will reject that email unless it was either 1. sent from
Yahoo's email servers, or 2. its DKIM signature is verified. A DKIM
signature[5] is a public key cryptographic signature of the email body
and some headers included in the message header "DKIM-Signature". A
verified DKIM signature means that email body and signed headers have
not been modified.

Comprehensive resources about DMARC tend to downplay or ignore its
problems, b

Re: Horizontal Slurs (was Re: (no subject))

[Urs Liska]

Hi Aaron,

thank you for looking into it. I think I'll get along with the suggestion in 
the current score, but I'll also file a bug report because I think this should 
not happen in the first place, and the notation is not terribly excentrly ...

Best
Urs

24. September 2019 19:23, "Aaron Hill"  schrieb:

> On 2019-09-24 9:35 am, Urs Liska wrote:
> 
>> Is there any reason why the slrus in the attached example come out the
>> way they do (i.e. so horizontal, with the left edge being so far away
>> from the notehead)?
> 
> Seems to be a combination of slurring identical pitches and the articulation 
> on the one note. If
> you remove the staccato, the slur sits reasonably close. If you change either 
> pitch, then the slur
> behaves more normally.
> 
> 
> \version "2.19.83"
> 
> { a'8._( a'16_.) \bar "||"
> a'8._( a'16) b'8._( a'16_.) a'8._( b'16_.) }
> 
> 
>> What would be the best way to deal with that? Of course I could \shape
>> them individually, but there's a lot of them in the scores, so I'd
>> prefer a *setting* to be applied.
> 
> Adjusting edge-attraction-factor seems to help, but be careful with too high 
> a value as it collides
> with the articulation:
> 
> 
> \version "2.19.83"
> 
> { \once \override Slur.details.edge-attraction-factor = #38
> a'8._( a'16_.)
> \once \override Slur.details.edge-attraction-factor = #48
> a'8._( a'16_.)
> \once \override Slur.details.edge-attraction-factor = #58
> a'8._( a'16_.) }
> 
> 
> -- Aaron Hill
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

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Re: Horizontal Slurs (was Re: (no subject))

[Aaron Hill]

On 2019-09-24 9:35 am, Urs Liska wrote:

Is there any reason why the slrus in the attached example come out the
way they do (i.e. so horizontal, with the left edge being so far away
from the notehead)?


Seems to be a combination of slurring identical pitches and the 
articulation on the one note.  If you remove the staccato, the slur sits 
reasonably close.  If you change either pitch, then the slur behaves 
more normally.



\version "2.19.83"

{ a'8._( a'16_.) \bar "||"
  a'8._( a'16) b'8._( a'16_.) a'8._( b'16_.) }



What would be the best way to deal with that? Of course I could \shape
them individually, but there's a lot of them in the scores, so I'd
prefer a *setting* to be applied.


Adjusting edge-attraction-factor seems to help, but be careful with too 
high a value as it collides with the articulation:



\version "2.19.83"

{ \once \override Slur.details.edge-attraction-factor = #38
  a'8._( a'16_.)
  \once \override Slur.details.edge-attraction-factor = #48
  a'8._( a'16_.)
  \once \override Slur.details.edge-attraction-factor = #58
  a'8._( a'16_.) }



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[no subject]

[Urs Liska]

Is there any reason why the slrus in the attached example come out the way they 
do (i.e. so horizontal, with the left edge being so far away from the notehead)?

What would be the best way to deal with that? Of course I could \shape them 
individually, but there's a lot of them in the scores, so I'd prefer a 
*setting* to be applied.

Thanks
Urs
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[no subject]

[Andrew Bernard]

get index hpschd96
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[no subject]

[Craig Dabelstein]

Hi everyone,

Has anyone encountered this error in Terminal before? I'm on a Mac (latest
OS) and invoking Lilypond on about 30 parts. This error came up on about
the 25th part.

warning: g_spawn_sync failed (0): gs: Too many open files




All the best,


CRaig





-- 
[image: photograph]
*Craig Dabelstein*
Owner
email: cr...@maximesmusic.com.au
Maxime's Music, QLD, Australia
[image: facebook icon]  [image:
twitter icon]  [image: youtube icon]
 [image: instagram icon]
  maximesmusic.com.au
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Subject: Re: Function template (or whatever it's called)

[Flaming Hakama by Elaine]

> -- Forwarded message --
> Subject: Re: Function template (or whatever it's called)
> On 20.06.2018 11:18, Urs Liska wrote:
> > (let*
> > ((elts (ly:music-property mus 'elements))
> >  (cnt (length elts)
>
> OT: Is ‘cnt’ a common abbreviation in programming?


Not among professional programmers.
At least, not in this era.
I'm sure it was common when memory/storage was at a premium, last century.

If the variable represents a count, then spell the word out.
There is nothing gained by abbreviating words to the point of illegibility.

Because it would seem
> to me like it’s too close to offensive…
>
> Best, Simon
>

Especially if the abbreviation is suspect.


Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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[no subject]

[Ben Big Noise]

Dear LilyPond fellows, 

who has some experience in creating PNG files on MacOSX? 

The problem is that conversion from EPS to PNG fails: 
--- 
 Processing `OOoLilyPond.ly' 
Parsing... 
Interpreting music... 
Preprocessing graphical objects... 
Calculating line breaks... 
Drawing systems... 
Layout output to `OOoLilyPond.eps'... 
Converting to PNG...dyld: Library not loaded: ./bin/../sobin/libgs.8.70.dylib 
Referenced from: /Applications/LilyPond.app/Contents/Resources/bin/../bin/gs 
Reason: no suitable image found. Did find: 
/usr/local/lib/libgs.8.70.dylib: stat() failed with errno=13 

fatal error: GS exited with status: 5 
--- 

Can anyone help? 

Cheers, 
Klaus 
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[no subject]

[Mirosław Doroszewski]

Only telling the Truth sincerely, frankly, is powerful, helpful, hopeful.
Who is telling the Truth sincerely, frankly, is powerful, helpful,
hopeful — even when is telling about his/her false, powerless,
helpless, hopeless, desperate — is paradoxically powerful, helpful,
hopeful, and is begging mercy.

So: Telling false is powerless, helpless, hopeless, desperate.
Who is telling false, is powerless, helpless, hopeless, desperate.
And when see his/her powerless, helpless, hopeless, desperate — may
tell about it truly and sincerely, frankly, or may not tell about it
and think false about himself/herself, giving false ideas telling
others that are true.

What about somebody who cannot tell the Truth?
Let him/her do like a linker only trying: in a whisper, with little
voice, sincerely, being quite frank: "I cannot tell the Truth. I
cannot live with the Truth".
If the somebody is telling this, paradoxically is at once, now telling
the Truth about himself/herself — and at once, now: is powerful,
helpful, hopeful, and is sorry, regrets, begging mercy.

If I can do something, I can tell this.

If I cannot do something, let me do not tell that I can.

If the world would not pay 100,000,000,000 dollars or euro every month
for bulbs (=electric lights) in computers and computer peripherals,
even loud-speakers — i.e. Musescore and LilyPond would be in version 2
a long time ago.

Conclusions:
1) "Be good, if you are able" (Saint Philippe Neri).
2) And mercy for these, whoever wants asking or begging as long as has
chance, till death...

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[no subject]

[Rob Torop]

I'm finding that when I use a TabStaff and also set some properties (either
or both of minimumFret and restrainOpenStrings), my first line has an extra
TabStaff!  What can I do to get rid of it? Thanks!

Here's what it looks like:

[image: Screen Shot 2017-03-26 at 4.46.59 PM.png]

And here's the code that generated this:

\version "2.19"
\language "english"

solo = \relative c' {

% Either of both of the two settings will cause an extra "TAB" staff to
be rendered
 \set TabStaff.minimumFret=#1
 \set TabStaff.restrainOpenStrings = ##t

 c8   f e ef df c bf af
}

\score {
  <<
 \new Staff\solo
 \new TabStaff  \solo
   >>
}
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[no subject]

[Carlos R Martinez]

Hello,

Is it possible to use lily pond online from a server so I can use it on
my chromebook!
thanks

cr
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[no subject]

[Mirosław Doroszewski]

Exporting to image file in LilyPond version 2.18.2.

1. Command line help tells that lilypond can export prints not only to
pdf but also to png format.
2. Command line help does not tell how set resolution for image
format. I have found the setting in Learning help file. The setting
is: "lilypond --png -dresolution=300".
3. I have used lilypond a few years ago and I remember that it is
possible to export not only into separate pages but also each system
into separate image files.
4. How one can do that in command line?

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[no subject]

[Mark Stephen Mrotek]

Thiago,

 

The parentheses are not needed in the tempo marking.

\tempo Andante

 

Mark

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[no subject]

[Paulo Rios Filho]

Cvc VP ___
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[no subject]

[B~M]

Dear All, I would like to add an up bow symbol to the
middle of a tie between two notes. The file seg.pdf is a snippet
of the problem. In the second tie I would like to place a V to denote
up bow. However, the up bow and down bow symbols are attached
to notes in the lilypond file.
Is there some way I can arbitrarily place a V over the tie with x y
co-ordinates ?
This is useful for trills over long notes where one runs out of bow.

paul


Seg.pdf
Description: Adobe PDF document


Seg.ly
Description: Binary data
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[no subject]

[Scott Lawrence]

So I downloaded lilypond... All I get when I start the application is the 
following message: "%{
Welcome to LilyPond
===

Congratulations, LilyPond has been installed successfully.

Now to take it for the first test run.

  1. Save this file

  2. Select

   Compile > Typeset file

  from the menu.

  The file is processed, and

  3.  The PDF viewer will pop up. Click one of the noteheads.


That's it.  For more information, visit http://lilypond.org .

%}

\header{
  title = "A scale in LilyPond"
}

\relative {
  c d e f g a b c
}


\version "2.18.2"  % necessary for upgrading to future LilyPond versions."

I saved it like it said but I see no musical things

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Re: Subject: drum staves

[Flaming Hakama by Elaine]

> From: Riccardo <rmaren...@email.it>
> Subject: drum staves
> Hi, i just started to use lilypond (with frescobaldi editor).

Welcome.

> I use it for writing drum set scores.
> My problem is this: i need the small tom to be in the place of the hi hat
 (in the last upper space in the
staff… E note placement so to say…)
> i try to read the manuals but couldn't figure out how to change
this…
> i need this because i prepare students for London College of Music
 and their standard notation
> has the small tom in this position. Thank you so much for your help!!


I think the most relevant part of the Notation Reference:
http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-percussion

I'm not sure how to interpret what the manual says,  which seems to be
moving the low tom up to the top space (among other things).

But I'd give it a shot if you included a minimal example (say, two bars) of
music you are trying to engrave.



Custom percussion staves

If you do not like any of the predefined lists you can define your own list
at the top of your file.

#(define mydrums '(
 (bassdrumdefault   #f   -1)
 (snare   default   #f   0)
 (hihat   cross #f   1)
 (halfopenhihat   cross "halfopen"   1)
 (pedalhihat  xcircle   "stopped"2)
 (lowtom  diamond   #f   3)))
up = \drummode { hh8 hh hhho hhho hhp4 hhp }
down = \drummode { bd4 sn bd toml8 toml }

\new DrumStaff <<
  \set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
  \new DrumVoice { \voiceOne \up }
  \new DrumVoice { \voiceTwo \down }
>>

[image: [image of music]]
<http://lilypond.org/doc/v2.18/Documentation/c0/lily-699f6fc0.ly>



HTH,

David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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[no subject]

[Mátyás Seress]

Hi guys,

I just downloaded the Lilypond Notation Reference pdf for version 2.19.38
from here:
http://www.lilypond.org/doc/v2.19/Documentation/notation.pdf

and I noticed that in the Table of Contents the page numbers next to the
entries are not clickable hyperrefs like in previous verisons.

Do you know who could fix this? because it'd facilitate the navigation a
great deal.

Thank you! :)

Mat

Ezt az e-mailt egy Avast védelemmel rendelkező, vírusmentes számítógépről
küldték.
www.avast.com

<#DDB4FAA8-2DD7-40BB-A1B8-4E2AA1F9FDF2>
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[no subject]

[B~M]

Dear All, here is perhaps a silly little question.
I am trying to get a slur from a crotchet "into" one of the voices in a
polyphonic voicing. In measure 1 the third blue note should have a
slur connecting it to the next blue note, which is in the polyphonic part.
I tried ( ) and \( \) with no success, so something special is perhaps
required ?

Also, to avoid continually inserting \tweak #'color #blue
I wrote a function

BN =
#(define-music-function (parser location)()
   #{
 \tweak #'color #blue
   #})

But this won't work in a chord < \BN > or a part with two voices <<{\BN }
\\  {}>> etc.
Is it possible to use a function for this purpose or must the change of
color
be written out each time ?

Kind regards Paul


Snippet.ly
Description: Binary data


Snippet.pdf
Description: Adobe PDF document
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Re: Subject: Compiling a file results in message: Exited with return code -1073741819

[Joseph N. Srednicki]

You asked for a better reference.

The following shows the appropriate section of the file:
==
% 41
  e4. d8 c2 r2 |

  % 42
  e4. e8
}

% alto
rightTwo = \relative c'' {
  \global

  % 1 to 2
  \repeat unfold 2 {R1.}

===

Search for comment "% 42". If you go the line following comment "% 42", the
first note is "e4.", followed by note "e8".

If I remove the note  "e8", the file compiles. However, if I add any note
after the "e4.", such as "e8", I receive the message: Exited with return
code -1073741819 

I was building this score measure by measure. Everything worked fine until I
reached the line following "% 42".

Please let me know if this message is clear.

I also regret that the sample is not tiny, but I don't know any other way to
show the example.

Thanks for your willingness to look at this file. I hope that I can get it
to work.

Joe Srednicki
-Original Message-
From: lilypond-user-bounces+jos.srednicki=verizon@gnu.org
[mailto:lilypond-user-bounces+jos.srednicki=verizon@gnu.org] On Behalf
Of lilypond-user-requ...@gnu.org
Sent: Monday, January 25, 2016 7:08 PM
To: lilypond-user@gnu.org
Subject: lilypond-user Digest, Vol 158, Issue 148

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Today's Topics:

   1. Re:Determining what parameters exist for an item (Thomas Morley)
   2. Re:simplifying chromatic scale notation (Urs Liska)
   3. Compiling a file results in message: Exited with return code
  -1073741819. (Joseph N. Srednicki)
   4. Re:Compiling a file results in message: Exited with return
  code  -1073741819. (Urs Liska)


--

Message: 1
Date: Tue, 26 Jan 2016 00:13:44 +0100
From: Thomas Morley <thomasmorle...@gmail.com>
To: David Nalesnik <david.nales...@gmail.com>
Cc: "Charles O. Lawrence" <charlesolawre...@bellsouth.net>,
Lilypond-User Mailing List <lilypond-user@gnu.org>, David
Kastrup
<d...@gnu.org>, Carl Sorensen <c_soren...@byu.edu>
Subject: Re: Determining what parameters exist for an item
Message-ID:
<cabsfgyv_f8cuobmtg85ydzkoluntt3-ju6mbiq9kkkdo55b...@mail.gmail.com>
Content-Type: text/plain; charset=UTF-8

2016-01-25 21:00 GMT+01:00 David Nalesnik <david.nales...@gmail.com>:
>
>
> On Mon, Jan 25, 2016 at 1:47 PM, Kieren MacMillan 
> <kieren_macmil...@sympatico.ca> wrote:
>>
>> Hi Harm,
>>
>> > if a property is settable, this does not mean your setting takes 
>> > any effect.
>> > I don't speak of user-errors in syntax, missing context, etc, but 
>> > sometimes an engraver does not listen to a certain property, maybe 
>> > because it's hard-coded or not really needed or for other good reasons.
>>
>> Excellent point. I?m sure it?s a pie-in-the-sky thought? but?
>>
>> Is there a way, in your [wonderful] list of _all_ properties, to have 
>> Lily automatically say which will have an effect?

No.

To illustrate:
TextScript has 'font-name as a property, but setting it will not always have
an effect!!

'font-name in musicglyph-markup-command is hardcoded to #f, otherwise
LilyPond would try to take it from "TeX Gyre Chorus" in the example below,
with little chance for nice output, I'd say ...

{
  \override TextScript.font-name = "TeX Gyre Chorus"
  a'1-\markup { "This is a clef:  " \musicglyph #"clefs.G" } }

This is only one single example (there are other markup-commands doing
similar) for one single grob...

>> Or is that as simple as ?adjusting a property will have an effect if 
>> and only if it?s listed on the grob?s ?homepage? in the IR??

Again, no.
See, David's explanation, below.

>
>
> Just because a grob supports a certain interface doesn't guarantee 
> that there's code written to handle all of the interface's properties 
> for that particular grob.  Also, an overridable property doesn't 
> necessarily have a default value listed in the IR: 'color, for example.
>
> DN

Sorry,
  Harm



--

Message: 2
Date: Tue, 26 Jan 2016 00:24:29 +0100
From: Urs Liska <u...@openlilylib.org>
To: lilypond-user@gnu.org
Subject: Re: simplifying chromatic scale notation
Message-ID: <56a6aead.1060...@openlilylib.o

Re: Subject: Re: Notehead color on programmed pitch change

[Thomas Morley]

2015-05-26 18:09 GMT+02:00 Peter Gentry peter.gen...@sunscales.co.uk:
 Thanks very much for your solution - I'm not yet sure why it works...how
 does 'tweaks know about notehead color? All very baffling

Well, most (every?) music-event may be tweaked.

Look at the terminal-output from:

\displayMusic
{
  \tweak color #red c''1
}

My code adds this tweak to the NoteEvent under certain conditions.


 Outlook strikes again - try this

Well, perhaps you'll have success persuading outlook to keep your formating.
If not I'd look out for another mail-program ;)


Cheers,
  Harm

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Subject: Re: Notehead color on programmed pitch change

[Peter Gentry]

Thanks very much for your solution - I'm not yet sure why it works...how does 
'tweaks know about notehead color? All very baffling
 
Outlook strikes again - try this
 
\version 2.19.15
 

#(define (naturalize-instrument-range p instrument ) 
   (let ((o (ly:pitch-octave p))
  (a (* 4 (ly:pitch-alteration p)))
;; alteration, a, in quarter tone steps, ;; for historical reasons
  (n (ly:pitch-notename p)))
 
 
(cond
   ((equal? instrument clarinet )
   (if (= o -1) (begin (set! o -1 )))
  (if (= o 3) (begin (set! o 2 )))
(cond
  ( (and (= o -1) (= a 2) (= n 1)) (set! o 0))
  ( (and (= o  2) (n 3))(set! o 1))
  ( (and (= o  2) (= n 3))(set! o 2)) )
  (if ( o 2) (begin (set! o 2 
 
((equal? instrument flute)
(if ( o 0) (begin (set! o 0 )))
(cond
  ( (and (= o 0) ( a  0) (= n 0)) (set! o 1))
  ( (and (= o 2) ( n  3)) (set! o 1))
  ( (and (= o 2) (= n 3)) (set! o 2)) )
(if ( o 2) (begin (set! o 2  )
 
(ly:make-pitch o n (/ a 4)) 
 
))
 
 my-color = #(x11-color 'red)
 
#(define (instrumentrange music instrument ) 
   (  ly:music? string? ) 
   (let ((es (ly:music-property music 'elements))  
   (e   (ly:music-property music 'element)) 
   (p   (ly:music-property music 'pitch)))
 
   (if (pair? es)
   (ly:music-set-property! music 'elements
   (map (lambda (x) (instrumentrange x instrument)) es)))  
 
   (if (ly:music? e) (ly:music-set-property! music 'element
(instrumentrange e instrument )))
 
(if (ly:pitch? p)
  (let ((new-pitch (naturalize-instrument-range p instrument)))
  (ly:music-set-property! music 'pitch new-pitch)
  (if (and (not (equal? p new-pitch)) (color? my-color))
  (ly:music-set-property! music 'tweaks
  (acons
'color my-color
   (ly:music-property music 'tweaks))
 
 music))
 
naturalizeInstrumentRange =
#(define-music-function (parser location  instrument m ) 
  ( string? ly:music? )  
  (instrumentrange m instrument ))
 
 \score {
  \new Staff
 \naturalizeInstrumentRange clarinet
\relative c'' {
 d4 r16  d,,16 [  e'16 f16 ]  e8 [  a,8 ]  a''16 [  g'16 a16 e16 ]   |  % 4
 f8 [  d8 ]  r4  r2   |  % 5
 }
 }
 \score {
   \new Staff
   \relative c'' {
 d4 r16  d,,16 [  e'16 f16 ]  e8 [  a,8 ]  a''16 [  g'16 a16 e16 ]   |  % 4
 f8 [  d8 ]  r4  r2   |  % 5
 }}

regards 
Peter Gentry 

 
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[no subject]

[Stephen MacNeil]

i thought i sent you something showing how to move it

anyway not sure where you want it, but do it like this


HTH
Stephen


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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Michael Hendry]

 On 10 Mar 2015, at 02:14, Flaming Hakama by Elaine ela...@flaminghakama.com 
 wrote:
 
 
  BTW, I also tend to prepare lead sheets in F and A.  Of course, you may not 
  need this.  But if you are preparing a template, it might be helpful to 
  include other common transpositions.
 
 OK. The choice there is either to compile the file three times, adjusting 
 \PieceTranspose in the sequence c c then c f then c a, or to make two more 
 copies of the book-generating section, with  (e.g.) \PieceTransposeFourth and 
 \PieceTransposeSixth in between.
 
 This would make it all a bit unwieldy, and as I want to be able to share this 
 with novice LilyPond users, I don?t want the make the file too long or too 
 clever!
 
 Sorry if I was not clear.  I wasn't suggesting that you transpose every piece 
 to the keys of F and A, but rather to be able to produce lead sheets in those 
 common keys as well:
 
 HornTranspose =
 #(define-music-function (parser location m)
(ly:music?)
#{ \transpose f, c  $m #})
 
 AClarinetTranspose =
 #(define-music-function (parser location m)
(ly:music?)
#{ \transpose a, c $m #})

OK, I get you now.

I think such transpositions are sufficiently rare that they could safely be 
“left as an exercise for the reader”; putting them all in would generate a lot 
of unwanted parts.

If there were a conditional-compilation feature (as in “C”), like...

#DEFINE ALTOSAXPART
…
#IFDEF ALTOSAXPART
   (do the alto part here)
#ENDIF

…then the user could suppress (for example) then French Horn part using…

#UNDEF FRENCHHORNPART

…but I think that overcomplicates what is intended to be a quick and easy way 
for Lilypond novices to produce the standard set of leadsheets (for Concert, Bb 
and Eb instruments).

 
 
 Granted, A clarinet isn't too common for Jazz, but it can't hurt.  And as a 
 clarinettist, I couldn't avoid the suggestion!
 
  
  But below, instead of using \PieceTranspose everywhere (which kind of 
  defeats the purpose of doing something globally) I would suggest 
  transposing \TheChords and \TheHead and then using \TransposedChords and 
  \TransposedHead in the template:
 
 This comes to the same thing, but uses two extra variables.
 
 But I can see the advantage in doing this in terms of clarity if it comes 
 immediately after the definition of the PieceTranspose function.
 
 Besides that, I think that variables help if they clarify things.  In this 
 case, it provides an explicit name for the result of \PieceTranspose { 
 \TheHead } “  

Agreed, as do function calls - which I sometimes use knowing that only one call 
is planned, not just to modularise the code and make it easier to debug at the 
time, and also to understand what is going on when I come across the code some 
years later!

 
 This introduce twos additional variables, but results in six fewer function 
 calls.

It’s a matter of opinion which is clearer - we’re not talking about conserving 
every last byte of memory and squeezing out every unnecessary CPU cycle from 
the code.

 
 Also, if I understand your intentions here, users of this template will never 
 have to modify the score blocks, or these variables.  So, I don't see the 
 down side of introducing them.  If anything, they separate boilerplate code 
 (that doesn't have to be modified) from the piece-specific code (which does).
 
 If part of your point is to make use of \transpose less fraught, I think you 
 still have an issue, since 
 users of this template still have to modify \transpose c c within that 
 function.  Something that might be more friendly:
 
 originalKey = c 
 newKey = f 
 
 PieceTranspose =
 #(define-music-function (parser location m)
(ly:music?)
#{ \transpose \originalKey \newKey $m #})
 That way, your users won't have to figure out which c in \transpose c c 
 $m to adjust.

Excellent.

But further on, I prefer...

\TrumpetTranspose \PieceTranspose \TheHead

…to…

\TrumpetTranspose \TransposedHead

…because it is clear that \TheHead as originally defined is being transposed 
twice.

No matter - whichever choice is made it will be in the “don’t touch if you 
don’t know what you’re doing” section.

I’ll do some road-testing on some of my jam-session colleagues, and get 
feedback.


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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Flaming Hakama by Elaine]

 From: Michael Hendry hendry.mich...@gmail.com
 To: Davide Liessi davide.lie...@gmail.com
 Cc: Lilypond-User Mailing List lilypond-user@gnu.org
 Subject: Re: Subject: String Concatenation, and Use of Unicode characters
[sic]


  On 7 Mar 2015, at 11:22, Davide Liessi davide.lie...@gmail.com wrote:
 
  Il 03/03/15 07.56, Michael Hendry ha scritto:
  Forgive me for suggesting, but I suggest it improves mental health to
  think of transpose in the form:
 
 \transpose to from \musicExpression
 
  This is what I do, too: I usually think of transpose as `\transpose
to from` when tranposing instrumental parts from concert pitch to
transposed pitch, and as `\transpose from to` in all other cases.

Moments after writing this, I realized how ambiguous it to and from
are.
A more coherent way of thinking about using \transpose for transposing
instruments might be

\transpose sounding written \musicExpression

The gotcha here is to keep in mind that \transpose does not use relative
pitch.  Meaning, if you are used to using relative notiation, you might
expect the following to produce the same transposition:

\transpose c d \musicExpression
\transpose bes c \musicExpression

But they don't--the first goes up a whole step, the second one goes up a
minor seventh.  Personally, I find that the most confusing thing about
\transpose.

Maybe that's because I haven't graduated to any other kind of music entry
besides \relative?



  I used to think of the transposition in this way until I found a need
to
  transpose the whole piece to a different key (to accommodate a singer?s
  range, for example), and I found the two ways of looking at
  transposition tied my brain in knots.
 
  Indeed looking at the same command in two ways might be a bit
confusing, but I got used to it rather easily.

A corresponding way to think about transposing a piece would be

 \transpose current key new key \musicExpression

(With the same gotcha about not using relative pitch)


  Ideally, I?d like to define the whole-piece transposition at the top of
  the file, rather than editing the per-instrument transposition at the
  point of book production.
 
  You certainly do not need to change the individual transpositions in
order to transpose an entire piece: nothing stops you from transposing
music that has already been transposed, instead of editing each
`\transpose` command.

+1


 Here is the section of the template where various standard transpositions
are defined?

 % Transpose the whole piece

 PieceTranspose =
 #(define-music-function (parser location m)
(ly:music?)
#{ \transpose c c $m #})

I'm not sure how this helps.  As written, this does nothing.  And if you
need to modify your function for each file (to enter the correct
transposition), how is it better than just using \transpose directly?  That
is what you end up having to do anyway--understand how \transpose works in
order to make the modification.

I could see it being helpful if it were able to take more expected input
(like up fourth, down minor 3rd or some other unambiguous input, and
then translate that to \transpose notation.

Generally, I agree that it is useful to have a function if you are going to
do the same thing multiple times.  (However, in this case I don't see the
purpose--in conjunction with my other comments, below, since I don't think
you should use this function more than twice per file.)




 % Adjust for various transposing instruments

 GuitarTranspose =
 #(define-music-function (parser location m)
(ly:music?)
#{ \transpose e e' $m #})

 AltoTranspose =
 #(define-music-function (parser location m)
(ly:music?)
#{ \transpose ees c'  $m #})

 TrumpetTranspose =
 #(define-music-function (parser location m)
(ly:music?)
#{ \transpose bes c' $m #})

Seems very helpful!

BTW, I also tend to prepare lead sheets in F and A.  Of course, you may not
need this.  But if you are preparing a template, it might be helpful to
include other common transpositions.

But below, instead of using \PiceTranspose everywhere (which kind of
defeats the purpose of doing something globally) I would suggest
transposing \TheChords and \TheHead and then using \TransposedChords and
\TransposedHead in the template:


TransposedChords = \PieceTranspose \TheChords
TransposedHead = \PieceTranspose \TheHead

#(define output-suffix Concert)
\book {
  \score {

  \TransposedChords
  \TransposedHead

\header {
  piece = \markup { \fontsize #-1 Concert }
}
  }
}

% Guitar version - transposed up an octave

#(define output-suffix guitar)
\book {
  \score {

  \GuitarTranspose { \TransposedChords }
  \GuitarTranspose { \TransposedHead }

\header {
  piece = \markup { \fontsize #-1 Guitar }
}
  }
}

% Trumpet version - transposed  up a tone

#(define output-suffix trumpet-Bb)
\book {
  \score {

  \TrumpetTranspose { \TransposedChords }
  \TrumpetTranspose { \TransposedHead

Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Michael Hendry]

 On 9 Mar 2015, at 19:48, Flaming Hakama by Elaine ela...@flaminghakama.com 
 wrote:
 
  From: Michael Hendry hendry.mich...@gmail.com 
  mailto:hendry.mich...@gmail.com
  To: Davide Liessi davide.lie...@gmail.com mailto:davide.lie...@gmail.com
  Cc: Lilypond-User Mailing List lilypond-user@gnu.org 
  mailto:lilypond-user@gnu.org
  Subject: Re: Subject: String Concatenation, and Use of Unicode characters 
  [sic]
  
  
   On 7 Mar 2015, at 11:22, Davide Liessi davide.lie...@gmail.com 
   mailto:davide.lie...@gmail.com wrote:
  
   Il 03/03/15 07.56, Michael Hendry ha scritto:
   Forgive me for suggesting, but I suggest it improves mental health to
   think of transpose in the form:
  
  \transpose to from \musicExpression
  
   This is what I do, too: I usually think of transpose as `\transpose to 
   from` when tranposing instrumental parts from concert pitch to 
   transposed pitch, and as `\transpose from to` in all other cases.
  
 Moments after writing this, I realized how ambiguous it to and from are. 
 A more coherent way of thinking about using \transpose for transposing 
 instruments might be 
  
 \transpose sounding written \musicExpression
  
 The gotcha here is to keep in mind that \transpose does not use relative 
 pitch.  Meaning, if you are used to using relative notiation, you might 
 expect the following to produce the same transposition:
  
 \transpose c d \musicExpression

This one transposes up from c to d...

 \transpose bes c \musicExpression

…but because the scale goes up as c d e f g a b c’, this one transposes from 
bes (just below c’) down to c - a minor seventh DOWN.

  
 But they don't--the first goes up a whole step, the second one goes up a 
 minor seventh.  Personally, I find that the most confusing thing about 
 \transpose.
  
 Maybe that's because I haven't graduated to any other kind of music entry 
 besides \relative?
 
 
  
   I used to think of the transposition in this way until I found a need to
   transpose the whole piece to a different key (to accommodate a singer?s
   range, for example), and I found the two ways of looking at
   transposition tied my brain in knots.
  
   Indeed looking at the same command in two ways might be a bit confusing, 
   but I got used to it rather easily.
  
 A corresponding way to think about transposing a piece would be 
 
  \transpose current key new key \musicExpression
  
 (With the same gotcha about not using relative pitch)

Relative pitch (in the lilypond \relative sense) isn’t involved here, only the 
interval between “current key” and “new key” (which is an upward movement in 
the case of c to d, but downward in the case of bes to c).

 
 
   Ideally, I?d like to define the whole-piece transposition at the top of
   the file, rather than editing the per-instrument transposition at the
   point of book production.
  
   You certainly do not need to change the individual transpositions in 
   order to transpose an entire piece: nothing stops you from transposing 
   music that has already been transposed, instead of editing each 
   `\transpose` command.

In a simple version, I would write \TheHead and \TheChords in the target key, 
and transpose them at the \book stage for the various instruments. This has to 
be done in eight different places, and is prone to error.

This is why I defined functions for the individual instruments that need never 
be changed, and did the concert key transposition using \PieceTranspose - only 
one character to change!

  
 +1
 
 
  Here is the section of the template where various standard transpositions 
  are defined?
  
  % Transpose the whole piece
  
  PieceTranspose =
  #(define-music-function (parser location m)
 (ly:music?)
 #{ \transpose c c $m #})
 
 I'm not sure how this helps.  As written, this does nothing.  And if you need 
 to modify your function for each file (to enter the correct transposition), 
 how is it better than just using \transpose directly?  That is what you end 
 up having to do anyway--understand how \transpose works in order to make the 
 modification.

Indeed, it does do nothing as it stands, but it’s there so that all I have to 
do when I want to transpose the whole piece up a fifth is to change the “c c” 
part to “c g”. 

 
 I could see it being helpful if it were able to take more expected input 
 (like up fourth, down minor 3rd or some other unambiguous input, and then 
 translate that to \transpose notation.
 
 Generally, I agree that it is useful to have a function if you are going to 
 do the same thing multiple times.  (However, in this case I don't see the 
 purpose--in conjunction with my other comments, below, since I don't think 
 you should use this function more than twice per file.)

I do use the functions several times - once for each instrument.

 
 
 
  
  % Adjust for various transposing instruments
  
  GuitarTranspose =
  #(define-music-function (parser location m)
 (ly:music?)
 #{ \transpose e e' $m

Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Flaming Hakama by Elaine]

  BTW, I also tend to prepare lead sheets in F and A.  Of course, you may
 not need this.  But if you are preparing a template, it might be helpful to
 include other common transpositions.

 OK. The choice there is either to compile the file three times, adjusting
 \PieceTranspose in the sequence c c then c f then c a, or to make two more
 copies of the book-generating section, with  (e.g.) \PieceTransposeFourth
 and \PieceTransposeSixth in between.

 This would make it all a bit unwieldy, and as I want to be able to share
 this with novice LilyPond users, I don?t want the make the file too long or
 too clever!


Sorry if I was not clear.  I wasn't suggesting that you transpose every
piece to the keys of F and A, but rather to be able to produce lead sheets
in those common keys as well:

HornTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose f, c  $m #})

AClarinetTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose a, c $m #})


Granted, A clarinet isn't too common for Jazz, but it can't hurt.  And as a
clarinettist, I couldn't avoid the suggestion!



  But below, instead of using \PieceTranspose everywhere (which kind of
 defeats the purpose of doing something globally) I would suggest
 transposing \TheChords and \TheHead and then using \TransposedChords and
 \TransposedHead in the template:

 This comes to the same thing, but uses two extra variables.

 But I can see the advantage in doing this in terms of clarity if it comes
 immediately after the definition of the PieceTranspose function.


Besides that, I think that variables help if they clarify things.  In this
case, it provides an explicit name for the result of \PieceTranspose {
\TheHead } 

This introduce twos additional variables, but results in six fewer function
calls.

Also, if I understand your intentions here, users of this template will
never have to modify the score blocks, or these variables.  So, I don't see
the down side of introducing them.  If anything, they separate boilerplate
code (that doesn't have to be modified) from the piece-specific code (which
does).

If part of your point is to make use of \transpose less fraught, I think
you still have an issue, since
users of this template still have to modify \transpose c c within that
function.  Something that might be more friendly:

originalKey = c
newKey = f

PieceTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose \originalKey \newKey $m #})

That way, your users won't have to figure out which c in \transpose c c
$m to adjust.


Glad to hear this discussion has been helpful.


David Elaine Alt
415 . 341 .4954   *Confusion is
highly underrated*
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Michael Hendry]

 On 7 Mar 2015, at 11:22, Davide Liessi davide.lie...@gmail.com wrote:
 
 Il 03/03/15 07.56, Michael Hendry ha scritto:
 Forgive me for suggesting, but I suggest it improves mental health to
 think of transpose in the form:
 
\transpose to from \musicExpression
 
 This is what I do, too: I usually think of transpose as `\transpose to 
 from` when tranposing instrumental parts from concert pitch to transposed 
 pitch, and as `\transpose from to` in all other cases.
 
 I used to think of the transposition in this way until I found a need to
 transpose the whole piece to a different key (to accommodate a singer’s
 range, for example), and I found the two ways of looking at
 transposition tied my brain in knots.
 
 Indeed looking at the same command in two ways might be a bit confusing, but 
 I got used to it rather easily.
 
 Ideally, I’d like to define the whole-piece transposition at the top of
 the file, rather than editing the per-instrument transposition at the
 point of book production.
 
 You certainly do not need to change the individual transpositions in order to 
 transpose an entire piece: nothing stops you from transposing music that has 
 already been transposed, instead of editing each `\transpose` command.
 
 When I need to transpose a piece I usually place `\transpose from to` 
 just before the music expression inside `\score`.
 Unless I need to change the octave of an instrument, this is sufficient.
 
 E.g. if I needed to transpose this piece one tone up...
 
 \score {
  
\new Staff \transpose bes, c \trumpetPartConcert
\new PianoStaff 
  \new Staff \pianoRight
  \new Staff \pianoLeft

  
  \layout { }
 }
 
 ... I would simply write
 
 \score {
  \transpose c d
  
\new Staff \transpose bes, c \trumpetPartConcert
\new PianoStaff 
  \new Staff \pianoRight
  \new Staff \pianoLeft

  
  \layout { }
 }
 
 Best wishes.
 Davide

Thanks, Davide.

I’m working on a template to share with other jazz musicians, especially 
students on the Jazz Course at St Andrews University, a few miles from here.

Here is the section of the template where various standard transpositions are 
defined…

% Transpose the whole piece

PieceTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose c c $m #})

% Adjust for various transposing instruments

GuitarTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose e e' $m #})

AltoTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose ees c'  $m #})

TrumpetTranspose =
#(define-music-function (parser location m)
   (ly:music?)
   #{ \transpose bes c' $m #})

…and here is where these functions are called…

#(define output-suffix Concert)
\book {
  \score {

  \PieceTranspose { \TheChords }
  \PieceTranspose { \TheHead }

\header {
  piece = \markup { \fontsize #-1 Concert }
}
  }
}

% Guitar version - transposed up an octave

#(define output-suffix guitar)
\book {
  \score {

  \GuitarTranspose \PieceTranspose { \TheChords }
  \GuitarTranspose \PieceTranspose { \TheHead }

\header {
  piece = \markup { \fontsize #-1 Guitar }
}
  }
}

% Trumpet version - transposed  up a tone

#(define output-suffix trumpet-Bb)
\book {
  \score {

  \TrumpetTranspose \PieceTranspose { \TheChords }
  \TrumpetTranspose \PieceTranspose { \TheHead }

\header {
  piece = \markup { \fontsize #-1 Trumpet in B \smallFlat }
}
  }
}

% Alto Sax version - transposed up a major sixth

#(define output-suffix alto-Eb)
\book {
  \score {

  \AltoTranspose \PieceTranspose { \TheChords }
  \AltoTranspose \PieceTranspose { \TheHead }

\header {
  piece = \markup { \fontsize #-1 Alto Sax in E \smallFlat }
}
  }
}

…the idea being that the code is reasonably self-documenting, and the user only 
has to define \TheChords and \TheHead and edit the title to get a set of parts 
in the necessary keys.

Only one line needs to be edited to change the key of the piece.

I’ve picked up a number of useful chunks of code from other list users, and I’m 
having to steer a middle course between heavy use of Scheme (which I struggle 
to follow) and a self-flagellating insistence on pure Lilypond!

I’m going to try this template out on a number of pieces I’ve already 
transcribed, and if all goes well, I’ll report back to the list with the 
complete .LY file.

Regards

Michael



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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Davide Liessi]

Il 03/03/15 07.56, Michael Hendry ha scritto:

Forgive me for suggesting, but I suggest it improves mental health to
think of transpose in the form:

\transpose to from \musicExpression


This is what I do, too: I usually think of transpose as `\transpose to 
from` when tranposing instrumental parts from concert pitch to 
transposed pitch, and as `\transpose from to` in all other cases.



I used to think of the transposition in this way until I found a need to
transpose the whole piece to a different key (to accommodate a singer’s
range, for example), and I found the two ways of looking at
transposition tied my brain in knots.


Indeed looking at the same command in two ways might be a bit confusing, 
but I got used to it rather easily.



Ideally, I’d like to define the whole-piece transposition at the top of
the file, rather than editing the per-instrument transposition at the
point of book production.


You certainly do not need to change the individual transpositions in 
order to transpose an entire piece: nothing stops you from transposing 
music that has already been transposed, instead of editing each 
`\transpose` command.


When I need to transpose a piece I usually place `\transpose from 
to` just before the music expression inside `\score`.

Unless I need to change the octave of an instrument, this is sufficient.

E.g. if I needed to transpose this piece one tone up...

\score {
  
\new Staff \transpose bes, c \trumpetPartConcert
\new PianoStaff 
  \new Staff \pianoRight
  \new Staff \pianoLeft

  
  \layout { }
}

... I would simply write

\score {
  \transpose c d
  
\new Staff \transpose bes, c \trumpetPartConcert
\new PianoStaff 
  \new Staff \pianoRight
  \new Staff \pianoLeft

  
  \layout { }
}

Best wishes.
Davide

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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[tisimst]

Michael,

Sorry to pipe in so late in this conversation, but have you seen what's 
going on at http://fonts.openlilylib.org? Your LilyJAZZ code, etc. is 
from the original files, but I've taken them a step further, making it 
easier to change music fonts.You might want to update your LilyJAZZ 
stuff from there. 

Let me know if I can help in any other way.

Happy Engraving,
Abraham

On Mon, Mar 2, 2015 at 11:57 PM, Michael Hendry [via Lilypond] 
ml-node+s1069038n172524...@n5.nabble.com wrote:
 
 On 3 Mar 2015, at 05:58, Flaming Hakama by Elaine [hidden email] 
 wrote:
 
 %{
 
  Date: Mon, 2 Mar 2015 16:40:27 +
  From: Michael Hendry [hidden email]
  Subject: String Concatenation, and Use of Unicode characters
  
  Typically, I want PDF output in three files, (Concert pitch, Bb 
 and Eb), and I would like to modularise this as much as possible.
 
 You will enjoy
 #(define output-suffix Instrument”)
 
 Certainly did! Thanks.
 
 
 
  2. The LilyJazzText font uses small capitals instead of lower case
   letters, so using ?Eb? produces a capital E followed by a small
   capital B. On my Mac I know how to produce a flat sign, and 
 LilyPond
   will use the flat sign from another font, but I?d like to be able 
 to
   define a flat sign as a variable, and append it to the piece 
 markup
   when creating the books for trumpet and alto.
 
 There is something called \flat.  I took out the references to 
 LilyJAZZ just to demonstrate, it should work regardless of font and 
 I didn't have the .ily file handy.
 
 That certainly helped. I’m being fussy now, but there’s 
 unnecessary white-space between the “E” and the “b”. Also, I 
 want the “Alto Sax in Eb” in a smaller font, and the \flat is 
 bigger than I want it.
 
 
 
 
 Forgive me for suggesting, but I suggest it improves mental health 
 to think of transpose in the form: 
 
 \transpose to from \musicExpression
 
 I used to think of the transposition in this way until I found a need 
 to transpose the whole piece to a different key (to accommodate a 
 singer’s range, for example), and I found the two ways of looking 
 at transposition tied my brain in knots.
 
 Ideally, I’d like to define the whole-piece transposition at the 
 top of the file, rather than editing the per-instrument transposition 
 at the point of book production.
 
 
 So, Bb and Eb parts would be:
 
 \transpose bes, c \trumpetPartConcert
 \transpose es, c \altoPartConcert
 
 instead of the cryptic: 
 
 \transpose c d' \trumpetPartConcert
 \transpose c a' \altoPartConcert
 
 
 Also, I took out references to \jazzOn since it didn't compile.
 
 
  
  Thanks in advance,
  
  Michael Hendry
 
 Sure, I hope this helps.
 
 Very much so.
 
 I’ve attached my modified version of your code, along with the 
 necessary include files and an example of the output. I like the 
 informal look of the Jazz fonts, but I can still be obsessional about 
 font-size mismatches!
 
 Michael
 
 
 
 
 
 
 
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  LilyJAZZ.ily (27K) Download Attachment
  AccordsJazzDefs.ly (9K) Download Attachment
  Trial-trumpet-Bb.pdf (38K) Download Attachment
 
 
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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Michael Hendry]

On 3 Mar 2015, at 05:58, Flaming Hakama by Elaine ela...@flaminghakama.com wrote:%{ Date: Mon, 2 Mar 2015 16:40:27 + From: Michael Hendry hendry.mich...@gmail.com Subject: String Concatenation, and Use of Unicode characters Typically, I want PDF output in three files, (Concert pitch, Bb and Eb), and I would like to modularise this as much as possible.You will enjoy#(define output-suffix "Instrument”)Certainly did! Thanks. 2. The LilyJazzText font uses small capitals instead of lower case letters, so using ?Eb? produces a capital E followed by a small capital B. On my Mac I know how to produce a flat sign, and LilyPond will use the flat sign from another font, but I?d like to be able to define a flat sign as a variable, and append it to the piece markup when creating the books for trumpet and alto.There is something called \flat. I took out the references to LilyJAZZ just to demonstrate, it should work regardless of font and I didn't have the .ily file handy.That certainly helped. I’m being fussy now, but there’s unnecessary white-space between the “E” and the “b”. Also, I want the “Alto Sax in Eb” in a smaller font, and the \flat is bigger than I want it.Forgive me for suggesting, but I suggest it improves mental health to think of transpose in the form:  \transpose "to" "from" \musicExpressionI used to think of the transposition in this way until I found a need to transpose the whole piece to a different key (to accommodate a singer’s range, for example), and I found the two ways of looking at transposition tied my brain in knots.Ideally, I’d like to define the whole-piece transposition at the top of the file, rather than editing the per-instrument transposition at the point of book production.So, Bb and Eb parts would be:  \transpose bes, c \trumpetPartConcert  \transpose es, c \altoPartConcertinstead of the cryptic:  \transpose c d' \trumpetPartConcert  \transpose c a' \altoPartConcertAlso, I took out references to \jazzOn since it didn't compile. Thanks in advance, Michael HendrySure, I hope this helps.Very much so.I’ve attached my modified version of your code, along with the necessary include files and an example of the output. I like the informal look of the Jazz fonts, but I can still be obsessional about font-size mismatches!Michael

Trial.ly
Description: Binary data


LilyJAZZ.ily
Description: Binary data


AccordsJazzDefs.ly
Description: Binary data


Trial-trumpet-Bb.pdf
Description: Adobe PDF document
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Subject: String Concatenation, and Use of Unicode characters [sic]

[Flaming Hakama by Elaine]

%{

 Date: Mon, 2 Mar 2015 16:40:27 +
 From: Michael Hendry hendry.mich...@gmail.com
 Subject: String Concatenation, and Use of Unicode characters

 Typically, I want PDF output in three files, (Concert pitch, Bb and Eb),
and I would like to modularise this as much as possible.

You will enjoy
#(define output-suffix Instrument)


 2. The LilyJazzText font uses small capitals instead of lower case
  letters, so using ?Eb? produces a capital E followed by a small
  capital B. On my Mac I know how to produce a flat sign, and LilyPond
  will use the flat sign from another font, but I?d like to be able to
  define a flat sign as a variable, and append it to the piece markup
  when creating the books for trumpet and alto.

There is something called \flat.  I took out the references to LilyJAZZ
just to demonstrate, it should work regardless of font and I didn't have
the .ily file handy.



Forgive me for suggesting, but I suggest it improves mental health to think
of transpose in the form:

\transpose to from \musicExpression

So, Bb and Eb parts would be:

\transpose bes, c \trumpetPartConcert
\transpose es, c \altoPartConcert

instead of the cryptic:

\transpose c d' \trumpetPartConcert
\transpose c a' \altoPartConcert


Also, I took out references to \jazzOn since it didn't compile.



 Thanks in advance,

 Michael Hendry

Sure, I hope this helps.


David Elaine Alt
415 . 341 .4954   Confusion is
highly underrated
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

%}




\version 2.18.0

% \include LilyJAZZ.ily
% \include AccordsJazzDefs.ly

% output-suffix will use the .ly file's base name, so no need to define one
% BaseFileName = Generic

\header {
  title =   \markup { Generic }
}

TheHead =  \relative c' {
  \set Score.markFormatter = #format-mark-box-letters
  \clef treble \key c \major \numericTimeSignature \time 4/4
 c d e f
}

TheChords =  \chords { c1 }

#(define output-suffix guitar-Concert)
\book {

  \new Score
  
\transpose c c {\TheChords}
\new Staff
\transpose c c {\TheHead}
  
  \header {piece = \markup { Guitar }}
}

#(define output-suffix trumpet-Bb)
\book {
  \new Score
  
\transpose bes, c {\TheChords}
\new Staff
\transpose bes, c {\TheHead}
  
  \header {piece = \markup {Trumpet in B \flat }}
}

#(define output-suffix alto-Eb)
\book {
  \new Score
  
\transpose es, c {\TheChords}
\new Staff \transpose es, c {\TheHead}
  
  \header {piece = \markup { Alto Sax in E \flat}}
}
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[no subject]

[Stephen MacNeil]

I understand that however you still can not control what note it goes to.

\slashedGrace b8_( e, a c4 )


How would I indicate to have the slur attach to the 'a' note?


And, until there is a
better solution, you may have to tweak the shape of the slur to go to
the correct note (say you wanted to go the a in the chord).

which is the same solution I have already done with the previous examples.


\version 2.18.2


\relative c'{

\time 6/8

{ \voiceOne \stemUp \tweak Flag.transparent ##t e g8}\\{\voiceTwo
\slurDown \stemUp \shape #'((0.2 . 0) (0 . 0) (0 . 0) (0 . 0.3)) Slur
\override Slur.positions = #'(0 . 0) \acciaccatura d'8 c e, g b e g
c} |


}

\relative c'{

\time 6/8

e' g8

\stemUp \slurDown \shape #'((1 . 1.8) (0.7 . 2.2) (-0.1 . 2.05) (-0.1 .
2.0)) Slur \override Slur.positions = #'(0 . 0)

e g16 (a) e g8

}


Thanks
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Re: (no subject)

[tisimst]

Stephen,

On Tue, Oct 28, 2014 at 11:33 AM, Stephen MacNeil [via Lilypond] 
ml-node+s1069038n168040...@n5.nabble.com wrote:
 I understand that however you still can not control what note it goes 
 to.
 
 \slashedGrace b8_( e, a c4 )
 
 How would I indicate to have the slur attach to the 'a' note? 

Sorry. That's just the way it works for now. The ideal would be to do 
this, but there isn't a mechanism for it:

\slashedGrace b8_( e, a ) c4 

 And, until there is a
 better solution, you may have to tweak the shape of the slur to go to
 the correct note (say you wanted to go the a in the chord).
 
 which is the same solution I have already done with the previous 
 examples.
  
 \version 2.18.2
 
 \relative c'{
 \time 6/8
 { \voiceOne \stemUp \tweak Flag.transparent ##t e g8}\\{\voiceTwo 
 \slurDown \stemUp \shape #'((0.2 . 0) (0 . 0) (0 . 0) (0 . 0.3)) Slur 
 \override Slur.positions = #'(0 . 0) \acciaccatura d'8 c e, g b e 
 g c} |
 
 }
 \relative c'{
 \time 6/8
 e' g8
 \stemUp \slurDown \shape #'((1 . 1.8) (0.7 . 2.2) (-0.1 . 2.05) (-0.1 
 . 2.0)) Slur \override Slur.positions = #'(0 . 0)
 e g16 (a) e g8
 }
 
 Thanks
 

That is true, but let's clean up your code a little:

\relative c'{
  \time 6/8
  \shape #'((0.2 . 1.1) (0.5 . 1.5) (0.3 . 2.2) (0.1 . 2.8)) Slur 
  \acciaccatura d'8 e, g c e g b e g c
}

\relative c'{
  \time 6/8
  e' g8^[
  \shape #'((0.7 . 1.3) (0.2 . 1.1) (-0.1 . 0.7) (-0.2 . 0.4)) Slur 
  e g16_( a ) e g8 ]
}

And just so you know, the  { ... }\\{ ... }  implicitly applies 
\voiceOne and \voiceTwo, so those are unnecessary.

HTH,
Abraham




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[no subject]

[me here]

hey for partial after first one in statement use

 % part bars

\set Score.measureLength = #(ly:make-moment 1 8)

% done

a'' -4\f |

% set back

\set Score.measureLength = #(ly:make-moment 4 8)

% done
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Re: (no subject)

[jensgc]

Eluze wrote
 you can define the spanner in its own (dynamic) context and move it
 wherever you want:

thanks for the answer. I am aware of the possibility to have the dynamics in
a separate voice - and it might be the solution here. I am however not fond
of having to enter dynamics in a voice without music - for the score in
question I have 16 voices each with their own (polyphonic) dynamic markings
- and in a score where the time signature changes frequently, it is not
trivial to write spacers until bar 125 to be able to put a dynamic mark in
bar 126. 

The overall tempo markings are currently defined in the first of the
active voices in that particular bar - and the displayed tempo marking is
automatically placed on top of the system. But when I try to make more
dynamic tempo adjustments (ritardando, stringendo etc.) - that just as well
as an overall tempo marking implicitly has a scope of the entire system -
the displayed marking goes to the staff and not the system.

Are there any plans on making a SystemSpanner or similar that will combine
the flexibility from the TextSpanner with the only on top of system
property from \tempo and \mark ? 
What I'd like to do is to write a command that puts the output of
TextSpanner to the top staff in the system, regardless of which staff it is
defined in. Is it possible by tweaking something or do I need to make the
dynamics voice separate?






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Re: (no subject)

[Urs Liska]

Am 15.01.2014 09:53, schrieb jensgc:

Are there any plans on making a SystemSpanner or similar that will combine
the flexibility from the TextSpanner with the only on top of system
property from \tempo and \mark ?


This sounds like a reasonable idea.
If it isn't possible to do something like this yet, I suggest adding it 
as a feature request.


Urs

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Re: (no subject)

[Simon Bailey]

hi,

On Wed, Jan 15, 2014 at 9:53 AM, jensgc jen...@gmail.com wrote:
 thanks for the answer. I am aware of the possibility to have the dynamics in
 a separate voice - and it might be the solution here. I am however not fond
 of having to enter dynamics in a voice without music - for the score in
 question I have 16 voices each with their own (polyphonic) dynamic markings
 - and in a score where the time signature changes frequently, it is not
 trivial to write spacers until bar 125 to be able to put a dynamic mark in
 bar 126.

 The overall tempo markings are currently defined in the first of the
 active voices in that particular bar - and the displayed tempo marking is
 automatically placed on top of the system. But when I try to make more
 dynamic tempo adjustments (ritardando, stringendo etc.) - that just as well
 as an overall tempo marking implicitly has a scope of the entire system -
 the displayed marking goes to the staff and not the system.

 Are there any plans on making a SystemSpanner or similar that will combine
 the flexibility from the TextSpanner with the only on top of system
 property from \tempo and \mark ?
 What I'd like to do is to write a command that puts the output of
 TextSpanner to the top staff in the system, regardless of which staff it is
 defined in. Is it possible by tweaking something or do I need to make the
 dynamics voice separate?

this is untested, but what might work would be to set up your score
with a Dynamics context at the top. Don't be mislead by it being
called Dynamics, you can put ANYTHING in there, doesn't have to be
Dynamics (I use one for putting pedal markings in piano staves for
instance).

%%% SNIP SNAP %%%
\version 2.18.0
global = {
  %% put tempo, rehearsal marks, meter changes etc. in this
  %% variable and reuse everywhere
  %% you'll need this anyway to keep the Dynamics context alive
  \tempo funky
  \time 4/4
  s1*18
  \tempo Super fast
  \time 3/8
  s4.*3
  \tempo Miles Davies feel
  \time 5/4
  s4*4*12
  \tempo Laid back
  \time 4/4
  %% etc., you get the idea
}

\score {

  \new Dynamics = TopSpanner { \global}
  \new Staff = s { \soprano }
  \new Staff = a { \alto }
  \new Staff = t { \tenor }
  \new Staff = b { \bass }

%%% SNAP SNIP %%%

then in any voice define the text spanner in temporary polyphony:

%%% SNIPP SNAPP %%%
\version 2.18.0
ritardandoSpannerDefinitions = {
  \once \override TextSpanner.bound-details.left.text = \markup
\italic ritardando
  \once \override TextSpanner.bound-details.left-broken.text = \markup
\italic \small (rit.)
  \once \override TextSpanner.bound-details.right.text = \markup \italic al
}

tenor = \relative c' {
  % lots of music
  % up to bar 125
  
\context Dynamics = TopSpanner { \ritardandoSpannerDefinitions
s4\startTextSpan s2. | s2. s4\stopTextSpan }
{ % 2 bars of tenor music }
  
  % lots more music
  % to end of piece
}
%%% SNAPP SNIPP %%%

This is the same principle as used for Ossia staves:
http://lilypond.org/doc/v2.18/Documentation/notation/modifying-single-staves#ossia-staves
(read the bit starting with If many isolated ossia staves are
needed[...] -- 3rd example in that section).

Like I said, this is completely untested and may or may not work
directly via copy/paste, but I think you get the idea. The syntax for
the TextSpanner is for 2.17 and later, so if you're using 2.16, you'll
have to use the following syntax: \override TextSpanner
#'(bound-details left text) = rit.

Hope this helps, regards,
sb

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Re: (no subject)

[Eluze]

jensgc wrote
 
 Eluze wrote
 you can define the spanner in its own (dynamic) context and move it
 wherever you want:
 thanks for the answer. I am aware of the possibility to have the dynamics
 in a separate voice - and it might be the solution here. I am however not
 fond of having to enter dynamics in a voice without music - for the
 score in question I have 16 voices each with their own (polyphonic)
 dynamic markings - and in a score where the time signature changes
 frequently, it is not trivial to write spacers until bar 125 to be able to
 put a dynamic mark in bar 126. 
 
 The overall tempo markings are currently defined in the first of the
 active voices in that particular bar - and the displayed tempo marking
 is automatically placed on top of the system. But when I try to make more
 dynamic tempo adjustments (ritardando, stringendo etc.) - that just as
 well as an overall tempo marking implicitly has a scope of the entire
 system - the displayed marking goes to the staff and not the system.
 
 Are there any plans on making a SystemSpanner or similar that will
 combine the flexibility from the TextSpanner with the only on top of
 system property from \tempo and \mark ? 
 What I'd like to do is to write a command that puts the output of
 TextSpanner to the top staff in the system, regardless of which staff it
 is defined in. Is it possible by tweaking something or do I need to make
 the dynamics voice separate?

of course you can add the text spanner engraver to the Score:

\layout{
  \context{
\Score \consists Text_spanner_engraver
  }
  \context{
\Voice \remove Text_spanner_engraver
  }
}

if you plan to use spanners in the voices too you can not remove the
Text_spanner_engraver from the Voice and you would have to \override the
Voice.TextSpanner with empty properties each time you override a
Score.TextSpanner (this could be tedious...)

Eluze



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Re: (no subject)

[David Kastrup]

jensgc jen...@gmail.com writes:

 Eluze wrote
 you can define the spanner in its own (dynamic) context and move it
 wherever you want:

 thanks for the answer. I am aware of the possibility to have the dynamics in
 a separate voice - and it might be the solution here. I am however not fond
 of having to enter dynamics in a voice without music - for the score in
 question I have 16 voices each with their own (polyphonic) dynamic markings
 - and in a score where the time signature changes frequently, it is not
 trivial to write spacers until bar 125 to be able to put a dynamic mark in
 bar 126.

If you use a Dynamics context, you should be able to feed it complete
music (which you presumably have available in a music variable) and it
should only engrave the Dynamics.

-- 
David Kastrup

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Re: (no subject)

[jensgc]

Simon Bailey-5 wrote
 this is untested, but what might work would be to set up your score
 with a Dynamics context at the top. Don't be mislead by it being
 called Dynamics, you can put ANYTHING in there, doesn't have to be
 Dynamics (I use one for putting pedal markings in piano staves for
 instance).
 
 [...]
 
 then in any voice define the text spanner in temporary polyphony:
 
 
 [...]
 
 tenor = \relative c' {
   % lots of music
   % up to bar 125
   
 \context Dynamics = TopSpanner { \ritardandoSpannerDefinitions
 s4\startTextSpan s2. | s2. s4\stopTextSpan }
 { % 2 bars of tenor music }
   

Just a quick thought - if I with the temporary polyphony construct shown in
your example can direct TextSpanner content to a special Dynamics context -
would it then be possible to skip the Dynamic context (and the spacer
definitions that go with it) and just use the topmost staff as the target?
Or does it have to be a Dynamics and not a Staff context to work?

I could of cause also fill the dynamics context with the music for of the
defined voices - but then I would assume that dynamics already defined in
that voice would also be printed. Is that correct? 

If I add the music from the topmost staff to a separate dynamics context
(placed above that staff), will dynamics context then be printed twice? 

An extra potential challenge - I use \RemoveEmptyStaves since there are long
sections with empty bars in various voices (the topmost 4 voices form a solo
quartet that is not active before bar 70). 


 




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Re: (no subject)

[Simon Bailey]

On Wed, Jan 15, 2014 at 11:28 AM, jensgc jen...@gmail.com wrote:

 Just a quick thought - if I with the temporary polyphony construct shown in
 your example can direct TextSpanner content to a special Dynamics context -
 would it then be possible to skip the Dynamic context (and the spacer
 definitions that go with it) and just use the topmost staff as the target?
 Or does it have to be a Dynamics and not a Staff context to work?

Of course.

 I could of cause also fill the dynamics context with the music for of the
 defined voices - but then I would assume that dynamics already defined in
 that voice would also be printed. Is that correct?

 If I add the music from the topmost staff to a separate dynamics context
 (placed above that staff), will dynamics context then be printed twice?

yes, that's correct. the music is suppressed, but the dynamics will be
shown. this is why i suggested using a global structure definition
which you can include in all voices (very useful for orchestral music
where you have to generate parts).

 An extra potential challenge - I use \RemoveEmptyStaves since there are long
 sections with empty bars in various voices (the topmost 4 voices form a solo
 quartet that is not active before bar 70).

if you put a dynamics context as topmost context in your score, i'm
not sure if RemoveEmptyStaves will also nuke that one. shouldn't
really matter though, as soon as you put something in that context, it
will be alive and shown again.

regards,
sb

-- 
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quick to anger.

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Re: (no subject)

[jensgc]

Simon Bailey-5 wrote
 If I add the music from the topmost staff to a separate dynamics context
 (placed above that staff), will dynamics context then be printed twice?
 
 yes, that's correct. the music is suppressed, but the dynamics will be
 shown. this is why i suggested using a global structure definition
 which you can include in all voices (very useful for orchestral music
 where you have to generate parts).

I have tried the dynamics approach now - and I do indeed get the dynamics of
the topmost voice printed twice (I used that voice to fill the dynamics
content). 
I might be able to overwrite the default dynamics display of the topmost
voice - so that the dynamics displayed above the top staff is only the
content of the Dynamics - any idea if this will work?

The reason I don't like the idea of a global structure definition is that
I have the individual parts (e.g. the quartet and the choir parts) defined
in seperate files to be able to test and work with them independently.
Having the \time and \key definitions in a part that is active makes a lot
more sense to me compared to having them in an otherwise empty skeleton.

My current score definition is as follows: (\solosopran is one voice in the
\quartetSystem)

\score {
  
\new Dynamics = TopSpanner { \solosopran }
\quartetSystem
\choirPart
%\pianoReduction


  \layout { 
   \context {
  \Staff  \RemoveEmptyStaves
}
  }
}





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Re: (no subject)

[jensgc]

jensgc wrote
 The reason I don't like the idea of a global structure definition is
 that I have the individual parts (e.g. the quartet and the choir parts)
 defined in seperate files to be able to test and work with them
 independently. Having the \time and \key definitions in a part that is
 active makes a lot more sense to me compared to having them in an
 otherwise empty skeleton.

To elaborate a bit: The score I'm working on uses highly polyphonic dynamics
- e.g. a crescendo, \mp or text annotation in one voice is not placed at the
same bar/note in the other voices. In that way, it doesn't really help to
put all dynamics in one place, because these markings are not vertically
aligned in the score. 

In regards to tempo markings, it is a different matter, since any change in
tempo needs to apply to each and every voice in the system. It makes perfect
sense that the \tempo marking always goes to the System - I just don't
understand why it is much more difficult to give a ritardando or stringendo
the same behavior.






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Re: (no subject)

[Trevor Daniels]

jensgc wrote Wednesday, January 15, 2014 1:03 PM

 In regards to tempo markings, it is a different matter, since any change in
 tempo needs to apply to each and every voice in the system. It makes perfect
 sense that the \tempo marking always goes to the System - I just don't
 understand why it is much more difficult to give a ritardando or stringendo
 the same behavior.

?
\tempo ritardando

Trevor
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Re: (no subject)

[Kieren MacMillan]

Hi,

 In regards to tempo markings, it is a different matter, since any change in
 tempo needs to apply to each and every voice in the system. It makes perfect
 sense that the \tempo marking always goes to the System - I just don't
 understand why it is much more difficult to give a ritardando or stringendo
 the same behavior.

It’s not… I do exactly this all the time.
Simply put your ritardando or stringendo in the same global variable as your 
\tempo and \mark items.

Hope this helps!
Kieren.
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Re: (no subject)

[jensgc]

Trevor Daniels wrote
 ?
 \tempo ritardando

Not a bad idea - but I would then have to abandon the idea of the normal
rit. _ _ _ _ _ _ _ _ _ al construct where the text spans the entire
duration of the ritardando.

Think I'll try a feature request for a SystemSpanner 

- and perhaps a \startTempoChange \ritardandoAl  %%music%% \stopTempoChange

(with 2nd parameter options like \ritardando, \ritardandoAl, \rallentando,
\rallentandoAl, \stringendo, \stringendoAl)





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Re: (no subject)

[Simon Bailey]

hi kieren,

On Wed, Jan 15, 2014 at 3:04 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
 In regards to tempo markings, it is a different matter, since any change in
 tempo needs to apply to each and every voice in the system. It makes perfect
 sense that the \tempo marking always goes to the System - I just don't
 understand why it is much more difficult to give a ritardando or stringendo
 the same behavior.

 It’s not… I do exactly this all the time.
 Simply put your ritardando or stringendo in the same global variable as your 
 \tempo and \mark items.

he doesn't want to use a global structure variable:

On Wed, Jan 15, 2014 at 1:49 PM, jensgc jen...@gmail.com wrote:
...SNIP...
 The reason I don't like the idea of a global structure definition is that
 I have the individual parts (e.g. the quartet and the choir parts) defined
 in seperate files to be able to test and work with them independently.
 Having the \time and \key definitions in a part that is active makes a lot
 more sense to me compared to having them in an otherwise empty skeleton.


@ Jens:

On Wed, Jan 15, 2014 at 1:49 PM, jensgc jen...@gmail.com wrote:
 I have tried the dynamics approach now - and I do indeed get the dynamics of
 the topmost voice printed twice (I used that voice to fill the dynamics
 content).
 I might be able to overwrite the default dynamics display of the topmost
 voice - so that the dynamics displayed above the top staff is only the
 content of the Dynamics - any idea if this will work?

you could use the following score definition:

%%% SNIP SNAP %%%
\score {
  
\new Dynamics = TopSpanner \with {
  \remove New_dynamic_engraver
} { \solosopran }
\quartetSystem
\choirPart
%\pianoReduction


  \layout {
   \context {
  \Staff  \RemoveEmptyStaves
}
  }
}
%%% SNAP SNIP %%%

removing the New_dynamic_engraver _should_ suppress the dynamics,
but still leave the following engravers alive:

- Axis_group_engraver
- Bar_engraver
- Dynamic_align_engraver
- Output_property_engraver
- Piano_pedal_engraver
- Script_engraver
- Text_engraver
- Text_spanner_engraver
- Tweak_engraver

Of course, you can remove any other of these ones you don't need, and
leave only the Text_spanner_engraver if you so desire.
(cf. http://www.lilypond.org/doc/v2.18/Documentation/internals/dynamics ).

Regards,
sb

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quick to anger.

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Re: (no subject)

[Kieren MacMillan]

Hi,

 Not a bad idea - but I would then have to abandon the idea of the normal
 rit. _ _ _ _ _ _ _ _ _ al construct where the text spans the entire
 duration of the ritardando.

Why not just put everything “global” in a global variable?
Then all of this is handled for you easily.

Thanks,
Kieren.
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Re: (no subject)

[Kieren MacMillan]

Hi,

 he doesn't want to use a global structure variable:

Sorry… I missed this.  =\

 The reason I don't like the idea of a global structure definition is that
 I have the individual parts (e.g. the quartet and the choir parts) defined
 in seperate files to be able to test and work with them independently.

This isn’t an argument against a global structure.

 Having the \time and \key definitions in a part that is active makes a lot
 more sense to me compared to having them in an otherwise empty skeleton.

Well, *that* is an argument against a global structure… but it’s still forcing 
a duck (Lilypond) to do a horse’s work.  =)

Believe me, having just engraved over 25 minutes of music for 57 staves (full 
orchestra, massed choirs, etc.), and now facing two full stage musicals and a 
chamber opera, I know how great it would be if Lilypond put “only those things 
there”. I’ve been brainstorming and testing solutions for months. But the best 
mechanism I could come up with requires heavy tagging, which ruins the 
content-presentation separation — for me, that separation is far more important 
than avoiding “an otherwise ‘empty’ skeleton”.

Looking forward to seeing if anyone comes up with a better solution than I was 
able to find.

Best,
Kieren.
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Re: (no subject)

[jensgc]

Kieren MacMillan wrote
 In regards to tempo markings, it is a different matter, since any change
 in
 tempo needs to apply to each and every voice in the system. It makes
 perfect
 sense that the \tempo marking always goes to the System - I just don't
 understand why it is much more difficult to give a ritardando or
 stringendo
 the same behavior.
 
 It’s not… I do exactly this all the time.
 Simply put your ritardando or stringendo in the same global variable as
 your \tempo and \mark items.

Hi. Not sure if you have seen my earlier posts - but I don't have my \tempo
and \mark items in a global variable. I wrote the quartet part (starting at
approx. bar 70) in a separate file, making proofreading and finetuning a lot
quicker than the combined score. In the first part of the score (bars 1-70)
the \time, \tempo and \key changes are defined in the main choir part, since
the quartet is doing nothing. In the latter part, the \time and \tempo
changes are defined in the quartet file, as this is the dominant part from
bar 70.

If there is a simple way of blanking all music from a voice, effectively
replacing all content with full bar rests (while obeying the time signature
in each bar), that could be a useful approach in my case. I moved the
quartet to the desired spot (bar 70) by copying bars from more or less
inactive voices and manually modifying them to be all rests. If there is a
smarter way to accomplish this - either in Frescobaldi or directly in
Lilypond - I'd be happy to learn it

In effect - if there is someway to have \voiceA changed to \voiceAA in the
example below, it would be a lot easier to make the global skeleton that
seems to be needed.


voiceA = {
\time 2/4
  \tempo Hurtigere 4 = 126
  r4\mp gis, |
  \time 3/4
  gis gis ais |
  \time 2/4
  b b |
  \time 3/4
  ais cis b |
  ais2.\fermata ~ |
}
voiceAA = {
 \time 2/4
  R2  |
  \time 3/4
  R2. |
  \time 2/4
  R2  | 
  \time 3/4
  R2. |
  R2. |
}






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Re: (no subject)

[Kieren MacMillan]

Hi,

 Hi. Not sure if you have seen my earlier posts

Sorry… yeah, I missed those.

 I don't have my \tempo and \mark items in a global variable.

I do recommend using a global variable in the future.

 I wrote the quartet part (starting at
 approx. bar 70) in a separate file, making proofreading and finetuning a lot
 quicker than the combined score.

You can still proofread and fine-tune the separate quartet part, just as 
quickly, with a global variable.

 In the first part of the score (bars 1-70)
 the \time, \tempo and \key changes are defined in the main choir part, since
 the quartet is doing nothing. In the latter part, the \time and \tempo
 changes are defined in the quartet file, as this is the dominant part from
 bar 70.

Having just engraved 25 minutes of large forces music for voices and 
instruments (57 staves, for ~330 performers!), I **HIGHLY** recommend you avoid 
doing things like that in future scores.

 If there is a simple way of blanking all music from a voice, effectively
 replacing all content with full bar rests (while obeying the time signature
 in each bar), that could be a useful approach in my case.

There are recent threads about this sort of thing — search the list archives.

Hope this helps!
Kieren.
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Re: (no subject)

[Simon Bailey]

On Wed, Jan 15, 2014 at 3:48 PM, jensgc jen...@gmail.com wrote:
 Kieren MacMillan wrote
 It’s not… I do exactly this all the time.
 Simply put your ritardando or stringendo in the same global variable as
 your \tempo and \mark items.

 Hi. Not sure if you have seen my earlier posts - but I don't have my \tempo
 and \mark items in a global variable. I wrote the quartet part (starting at
 approx. bar 70) in a separate file, making proofreading and finetuning a lot
 quicker than the combined score. In the first part of the score (bars 1-70)

have you seen: 
http://lilypond.org/doc/v2.18/Documentation/notation/skipping-corrected-music
?

 If there is a simple way of blanking all music from a voice, effectively
 replacing all content with full bar rests (while obeying the time signature
 in each bar), that could be a useful approach in my case. I moved the
 quartet to the desired spot (bar 70) by copying bars from more or less
 inactive voices and manually modifying them to be all rests. If there is a
 smarter way to accomplish this - either in Frescobaldi or directly in
 Lilypond - I'd be happy to learn it

there is probably some form of scheme voodoo out there which will do
this. i don't have time at the moment to dig though, but you could try
searching the list archives (also have a look at the lilypond-devel
archives) or LSR. maybe one of the scheme gurus will pipe in here as
well. :)

apart from that, i can only emphasize what kieren just posted: global
structure variables make your life a lot easier. :) i've been using
them for the past 10 years or so, the first thing i write in any new
lilypond file after \version ... is global = :)

regards,
sb
-- 
Do not meddle in the affairs of trombonists, for they are subtle and
quick to anger.

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Re: (no subject)

[jensgc]

Kieren MacMillan wrote
 Having just engraved 25 minutes of large forces music for voices and
 instruments (57 staves, for ~330 performers!), I **HIGHLY** recommend you
 avoid doing things like that in future scores.

Thanks for the advice. I'm only on my 4th real score in Lilypond so I'll
take all the advice I can get. 


 If there is a simple way of blanking all music from a voice,
 effectively
 replacing all content with full bar rests (while obeying the time
 signature
 in each bar), that could be a useful approach in my case.
 
 There are recent threads about this sort of thing — search the list
 archives.

I've been glancing through the archive for the current month + doing a
couple of searches without discovering any relevant topics. 

Can you give a hint to what terms I need to search for? 




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Re: (no subject)

[jensgc]

Simon Bailey-5 wrote
 have you seen:
 http://lilypond.org/doc/v2.18/Documentation/notation/skipping-corrected-music
 ?

Excellent! Highly useful - although it is a bit annoying to see a large
bunch of warnings when the showLastLength is set.




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[no subject]

[Jens Gyldenkærne Clausen]

Hi. In a large choral score I'd like to write a ritardando that appears
only in the top of the entire system (together with \tempo markings) -
without having to define the ritardando in the topmost staff. The voices in
the top staffgroup have no music (just a long series of rests) where the
ritardando is to be placed.

Is it possible to define a spanner in one voice and then move the text to
be positioned above the top staff?
In the example below I'd like to have rit _ _ _ _ _ _al  Lento in the top
of the system.


Here's my attempt at a tiny example:


\version 2.16.2

 soprano = \relative c' {

\repeat unfold 2 { c8 e g }

\override TextSpanner #'(bound-details left text) = rit.

\override TextSpanner #'(bound-details right text) = al

\override TextSpanner #'(bound-details right attach-dir) = #LEFT

 d4\startTextSpan

\repeat unfold 2 { c8 e g }

c d \stopTextSpan

\tempo Lento

e2 d

}

alto = \relative c'' {

\repeat unfold 4 { g4 e g }

}

 \score {



\new Staff { R1*3 }

 \new ChoirStaff 

\new Staff

\new Voice \soprano

\new Staff

\new Voice \alto



 

}
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Re: (no subject)

[Eluze]

Jens Gyldenkærne Clausen wrote
 Hi. In a large choral score I'd like to write a ritardando that appears
 only in the top of the entire system (together with \tempo markings) -
 without having to define the ritardando in the topmost staff. The voices
 in
 the top staffgroup have no music (just a long series of rests) where the
 ritardando is to be placed.
 
 Is it possible to define a spanner in one voice and then move the text to
 be positioned above the top staff?
 In the example below I'd like to have rit _ _ _ _ _ _al  Lento in the
 top
 of the system.

you can define the spanner in its own (dynamic) context and move it wherever
you want:

myDynamics={
  \override TextSpanner #'(bound-details left text) = rit.
  \override TextSpanner #'(bound-details right text) = al
  \override TextSpanner #'(bound-details right attach-dir) = #LEFT
  s2. s4
  \startTextSpan
  s2. s4
  \stopTextSpan
  s1
}

  \new Dynamics \myDynamics
  \new Staff { R1*3 }
  \new ChoirStaff 
...
...

Eluze



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[no subject]

[Peter Gentry]

Message: 2
Date: Thu, 5 Dec 2013 18:34:53 +0100
From: Janek Warcho? janek.lilyp...@gmail.com
To: Jacques Menu imj-...@bluewin.ch
Cc: lilypond-user@gnu.org discuss lilypond-user@gnu.org
Subject: Re: improving LilyPond useability
Message-ID:
canyddppocc3isejmudwi4a3m2_35kyuw54yfr9muxjxqmob...@mail.gmail.com
Content-Type: text/plain; charset=UTF-8

2013/12/4 Jacques Menu imj-...@bluewin.ch
 My recent experience creating choir scores for the first time, one of 
 them with difference words a given stanza in a repeated part (see 
 attachments), makes me think it would help to have off-the-shelf *commented* 
 samples of some size and complexity, as a complement
to the existing snippets.

Sounds like a good idea.  I could add some real-life score examples of my own.
Where would you place such material?  A new manual, or in an existing one?

Janek

This is an excellent suggestion, examples of small ensembles of various genres 
suitably authorised by the keepers of the runes would
be invaluable to the beginner.

These should be as free as possible of tweaks as these will confuse and 
de-motivate the uninitiated.

As much as is possible instructions should be intuitive - you cannot really say 
that for most Lily tweaks though.

regards
Peter Gentry 



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[no subject]

[Tommaso Gordini]

Hello to all. I quote from the file usage.pdf in the section about
lilypond-book:

Each snippet will call the Following macros if they have been defined by
the user:
\preLilyPondExample [...]
\postLilyPondExample [...]
\betweenLilyPondSystem [...]
»

A few pages after this point, there is a concrete example of use of the
\betweenLilyPondSystem command:

\newcommand {\betweenLilyPondSystem}[1]{\vspace{*length*}\linebreak}

This command inserts a vertical space equal to *length* between a system
of staves and the next one. And it works well in my document

I tried to use in the same way also the commands \pre- and
\postLilyPondSystem, but I did not see any results after compilation of my
document. What should these two commands exactly? Maybe insert space before
and after the example of music? How they must be used?

I'm writing a .tex document compiled with XeLaTeX tex in which use
lilypond-book for musical snippets. Before and after

\begin {lilypond[*options*]
...
\end {lilypond}

I use explicit spacing commands such as \smallskip, \medskip and \bigskip,
but I know that this is not the correct way. Looking at the name '
\preLilyPondExample' I thought that this command automatically put a space
before each lilypond environment. An alternative is to put in turn
lilypondenvironments inside a
center environmen:

\begin{center}
   \begin{lilypond}[*options*]
   ...
   \end{lilypond}
\end{center}

What would you do in this situation?

Here is my preamble (I work on Mac OS X 10.6.8):

% !TEX encoding = UTF-8 Unicode
% !TEX TS-program = LilyPond-Book
% !LILYPOND tex = xelatex

\documentclass[%
   documentstructure=book,%
   style=elements,%
   captionstyle=italic,%
   tocstyle=ragged,
   crop=false%
   ]{suftesi}
% pacchetti specifici di xetex
\usepackage{ifxetex}
\ifxetex
\usepackage[T1]{fontenc}
\usepackage{fontspec}
\setmainfont[Ligatures=TeX,Numbers=OldStyle]{Garamond Premier Pro}
\setsansfont[Scale=MatchLowercase]{Iwona}
\usepackage{polyglossia}
\setmainlanguage{italian}
\setotherlanguages{english,french,german}
\usepackage{lilyglyphs}
\else
\fi
% pacchetti comuni a xetex e pdftex
\usepackage{graphicx}
\graphicspath{{immagini/}}
\captionsetup{font={rm,it,small},justification=centering}
\usepackage{subfig}
\usepackage[italian]{varioref}
\usepackage[output-decimal-marker={,},detect-all]{siunitx}
\usepackage[hidelinks]{hyperref}

% nuovi comandi
\newcommand{\bemolle}{\ifxetex\,\lilyGlyph[scale=1.3,raise=0.5]{accidentals.flat}\else\fi}
\newcommand{\diesis}{\ifxetex\,\lilyGlyph[scale=1.1,raise=0.6]{accidentals.sharp}\else\fi}
\newcommand{\naturale}{\ifxetex\,\lilyGlyph[scale=1.2,raise=0.6]{accidentals.natural}\else\fi}
\newcommand{\ditoi}[1]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}\else\fi}
\newcommand{\ditoii}[2]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}-\lilyText[scale=1,raise=-0.05]{#2}\else\fi}
\newcommand{\ditoiii}[3]{\ifxetex\lilyText[scale=1,raise=-0.05]{#1}-\lilyText[scale=1,raise=-0.05]{#2}-\lilyText[scale=1,raise=-0.05]{#3}\else\fi}
\newcommand{\betweenLilyPondSystem}[1]{\vspace{5mm}\linebreak}

% comincia il documento
\begin{document}

Ciao e grazie
Tommaso
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[no subject]

[Tommaso Gordini]

Hello to all,
here's a minimal code:

%%

\version 2.16.2



\relative c {

\clef bass

\key c \major

\cadenzaOn

c,2

^\markup { \tiny { Serie armonica del fa (+: crescente; -: calante) } }

^\markup {\small { Corno in Fa } }

c' \clef treble g' c e g \stemUp bes4-- \stemDown c2 d e f4-+ g2 a4--
bes-+ b2 c

\cadenzaOff \bar ||

}

\layout {

\context {

\Staff \remove Time_signature_engraver

}

}
%%

The quarter notes marked with '-' are waning, quarter notes marked with ''
are increasing. What is the correct way to indicate it? I tried to draw the
arrows, but I could not do it.
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[no subject]

[Christopher Reed]

hello can someone please help me export my file to lilypond it will not do
it for some reason :(
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[no subject]

[ghe]

Is it possible, with LilyPond, to have something like the \hfill effect 
in TeX, that is, fill the rest of the staff with blank space?


If I type:

{ a b c d \break a b c d \bar |. }

the layout is ugly because the notes are spread over the whole staff.  I 
know that:


\layout {
  ragged-right = ##t
  ragged-last = ##t
}

will give a better output, but then the staffs are only one measure long. 
What I would like to have is something like:


{
a b c d
\repeat unfold 14 { s1 } \break
a4 b c d \bar |.
\repeat unfold 16 { s1 } \break
}

but without the added measure bars.

Thanks in advance,

--ghe

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[no subject]

[Helge Kruse]

Hello,
I start typesetting some songs. I know how to add the lyrics. But the
one song has a short chorus in front of the verses. This looks similar
like this

when I come home
I like the cho - rous {  when I sleep at night
but can't live a - lone.

Okay, the text is nonsense. The melody is unimportant. But the first
words (chorus) should appear only once. Than follow 4 verses. This
is hard to describe with ASCII-style art. I would like to write a
large opening brace from the fist line to the last line, if this is
possible with little effort.

Can you point me to the documentation, I think this should be
documentation in the NR. But I failed to find it.

Regards
Helge

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[no subject]

[bblochl]

I am a new user of lilypond and tried the (unchanged) example 
Defining predefined fretboards for other instruments
from
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Fretted-strings#Fretted-strings

To my regret I cannot compile it with version 2.14.2
I get an error list starting with 

fretneu2:19:24: Fehler: syntax error, unexpected MUSIC_IDENTIFIER
\storePredefinedDiagram 
\dSix
...

followed by all the other chords in the example
and ending with  

...
Interpretation der Musik...ERROR: In procedure ly:pitch-semitones:
ERROR: Wrong type argument in position 1 (expecting Pitch): 11

Could anyone please check the example if there is something wrong with it or is 
it me?

Regards


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[no subject]

[ed stuckems]

What's special about the \clef command in the following:

According to section 2.2.1 of the manual:

To determine the number of staves in a piece, LilyPond looks at the
beginning of the first expression. If there is a single note, there is
one staff; if there is a simultaneous expression, there is more than
one staff.

This would appear to be the case in the following:


 { f a c e }
 { e g b d }


However, if a \clef is specified, the statement doesn't appear to
hold.  For example, the following doesn't produce multiple staves
despite the fact that the beginning of the first expression starts
with simultaneous expression like the example above:


 { f a c e }
 { \clef bass e g b d }


In this case, both expressions are placed on one staff beginning with
a bass clef.  I infer that there something special about the use of
\clef that causes lilypond to re-examine the multiple staves vs single
staff assessment. When I looked up the \clef command, there was
nothing that indicates the command has side effects.

In order to get the two staves, you must prefix each expression with a
\new Staff as in the following:


 \new Staff { f a c e }
 \new Staff { \clef bass e g b d }


So my question is why does adding the \clef also require adding the
\new Staff when section 2.2.1 suggests otherwise?  What have I
missed?

regards,
eds

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[no subject]

[MING TSANG]

 
Blessing in+,___
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RE: Subject: Score/Part creating tool

[Peter Gentry]

Thanks Mark that failed again using IE9 master cannot be downloaded but 
worked using Chrome. Without me noticing a folder
structure was created in my downloads folder. No little cloud visible (or web 
page) and the whole process happened without further
input.

Another quirk of IE9 to ponder...:) I'm quessing you are a linux man.

Mark said

Hi Peter,

There's a link to the left of the repository address with the word zip
and a little icon of a cloud on it that will let you download all the files as 
a zip archive. Here's the link:
https://github.com/mwitmer/LyUtil/zipball/master.

Hope that helps!


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Re: Subject: Score/Part creating tool

[Mark Witmer]

Yes, I'm a Linux user. Glad to know you got it to download!

MW

On Thu, Oct 18, 2012 at 5:51 AM, Peter Gentry
peter.gen...@sunscales.co.ukwrote:

 Thanks Mark that failed again using IE9 master cannot be downloaded but
 worked using Chrome. Without me noticing a folder
 structure was created in my downloads folder. No little cloud visible (or
 web page) and the whole process happened without further
 input.

 Another quirk of IE9 to ponder...:) I'm quessing you are a linux man.

 Mark said

 Hi Peter,

 There's a link to the left of the repository address with the word zip
 and a little icon of a cloud on it that will let you download all the
 files as a zip archive. Here's the link:
 https://github.com/mwitmer/LyUtil/zipball/master.

 Hope that helps!


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RE: Subject: Score/Part creating tool

[Peter Gentry]

I have tried downloading this code as part of learning about scheme. Every way 
I try is thwarted - I even down loaded the Git for
Windows stuff. I did manage to browse a file but cut and paste just produced 
one long line and the download option does not work
which is a shame.


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Re: Subject: Score/Part creating tool

[Mark Witmer]

Hi Peter,

There's a link to the left of the repository address with the word zip
and a little icon of a cloud on it that will let you download all the files
as a zip archive. Here's the link:
https://github.com/mwitmer/LyUtil/zipball/master.

Hope that helps!

Mark

On Wed, Oct 17, 2012 at 8:35 AM, Peter Gentry
peter.gen...@sunscales.co.ukwrote:

 I have tried downloading this code as part of learning about scheme. Every
 way I try is thwarted - I even down loaded the Git for
 Windows stuff. I did manage to browse a file but cut and paste just
 produced one long line and the download option does not work
 which is a shame.


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Subject: Re: lilypond manual intro

[Peter Gentry]

Having had my share of gripes re the manuals I am now a born again supporter 
- they are great (not perfect) but great.

I recommend that you download all the relevant manuals as pdfs to a folder 
withing your Lilypond data file group and use the
advanced search to check through all the manuals when you want some 
information. As an example I noticed that \markuplines now
produces an error message - one quick search for \markuplines found the changes 
manual which explained a rename - took about 20
seconds (mostly slow grey cell time).

The notation manual is particularly good - the learning manual is fine never 
seen a problem with writing exclusively in absolute. 

Like most normal people I find relative hard to get my head round and always 
end up with the wrong octave somewhere or other usually
ending up beyond the range of the human ear. If you import music from other 
programs absolute is the way to go - why is relative
favoured so much? Imagine reading a printed score if it used relative notation 
(if that were possible).

regards
Peter Gentry 



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Re: Subject: Re: lilypond manual intro

[David Kastrup]

Peter Gentry peter.gen...@sunscales.co.uk writes:

 Having had my share of gripes re the manuals I am now a born again
 supporter - they are great (not perfect) but great.

 I recommend that you download all the relevant manuals as pdfs to a
 folder withing your Lilypond data file group and use the
 advanced search to check through all the manuals when you want some
 information. As an example I noticed that \markuplines now
 produces an error message - one quick search for \markuplines found
 the changes manual which explained a rename - took about 20
 seconds (mostly slow grey cell time).

Well, it is probably hard to beat those 20 seconds, but in a pinch: you
know this worked under 2.14, so slap a
\version 2.14.2
on your file and run convert-ly -ed on it.  Chances are that convert-ly
will fix the problem or at least mention some useful thought about it.

 The notation manual is particularly good - the learning manual is fine
 never seen a problem with writing exclusively in absolute.

 Like most normal people I find relative hard to get my head round and
 always end up with the wrong octave somewhere or other usually
 ending up beyond the range of the human ear. If you import music from
 other programs absolute is the way to go - why is relative
 favoured so much?

It's nice for mostly scale-based sequences.

 Imagine reading a printed score if it used relative notation (if that
 were possible).

Staffless neumes.

-- 
David Kastrup


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Re: Subject: Re: lilypond manual intro

[Trevor Daniels]

Peter Gentry wrote Monday, September 10, 2012 9:28 AM


 Having had my share of gripes re the manuals I am now a born again 
 supporter - they are great (not perfect) but great.

Nice to be appreciated - thanks!

 The notation manual is particularly good - the learning manual is fine never 
 seen a problem 
 with writing exclusively in absolute. 

That's fine - absolute is there for those who prefer it.

 Like most normal people I find relative hard to get my head round and always 
 end 
 up with the wrong octave somewhere or other usually ending up beyond the 
 range 
 of the human ear. 

Well, I don't think the rest of us are abnormal.  A few minutes practice for 
most
normal people is all it takes ;)  

 If you import music from other programs absolute is the way to go - why is 
 relative
 favoured so much?

For many tunes notes tend to lie quite close to the next one, so relative
is quicker to type.  Also, as you've noted above, a single mistake is very
easy to spot.  An octave mistake on a single note in polyphonic music in 
absolute notation could easily go unnoticed.

Trevor


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Re: Subject: Re: lilypond manual intro

[Phil Holmes]

- Original Message - 
From: Trevor Daniels t.dani...@treda.co.uk

To: Peter Gentry peter.gen...@sunscales.co.uk; lilypond-user@gnu.org
Sent: Monday, September 10, 2012 10:11 AM
Subject: Re: Subject: Re: lilypond manual intro


An octave mistake on a single note in polyphonic music in 
absolute notation could easily go unnoticed.


Not when I have to sing it!

--
Phil Holmes

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Subject: Re: lilyglyphs LaTeX package

[Stefan Thomas]

Dear Urs,
how can I install this package in my xelatex-system on ubuntu?

Hi Reinhold, Werner and Philippe,

thanks for your feedback. Here are a few ideas before I finally leave.
[I won't read this list (from tomorrow), so if you want to contact me in
the next weeks, please write to g...@ursliska.de]

My package works with XeLaTeX because I decided to use this flavor.
Actually the possibility to access OpenType fonts and features that way
was the final point for my decision to seriously jump into LaTeX use.

As Philippe and Werner pointed out there are ways to use Emmentaler
glyphs also in plain LaTeX, but I won't actively go after this.

What I propose, and what I think is quite possible, is:

  * There is the generic access command (\lilyGlyph ATM)
  * This command is then called by the predefined commands (such as e.g.
\doublesharp) and can be called within a LaTeX document.
  * If we can manage to keep the interface to this generic command
consistent I would be happy to include another 'backend'.
  * I think that the generic access command could become rather an
'interface' command. Depending on an option that can be passed to
the package, the interface command would then call the appropriate
generic access command.
  * Maybe it's necessary to somehow create a lookup table to map the
Type1 numbers to the OpenType glyphnames. I found this for example:

https://groups.google.com/forum/?fromgroups#!topic/comp.text.tex/MDzy2xNUC84[1-25]
- which could be of help.
  * If that works, everything that comes at a higher level (i.e. the
actual glyph commands) could be independent of the used LaTeX flavor.

This has a few consequences:

  * There will be the need for more discussion and design before my
prospected first official '0.1' release - but I think it would be
worth the time and effort.
  * I won't be able to add new glyphs before this design phase is
finished (because I'm afraid of having to update all the commands
due to changed syntax). This is principally OK with me, but could
cause some headaches because I started all this for a current
project - and I think this revision report will be quite long, and I
need the glyphs for it ...
  * I probably won't / can't do anything about the 'plain LaTeX backend'
- just because I don't know anything about it, and I can't afford
the time developing something I won't ever use myself.
  * ATM the stuff of integrating two 'backends' through package options
seems over my head (as I'm practically new to LaTeX). Maybe I will
learn it on the way, but any assistance in this field would be
appreciated.

Best for now
Urs

Am 15.08.2012 17:34, schrieb Urs Liska:
 Hi list,

 this is somewhat OT, but only slightly, I think.
 In need to insert music glyphs in continuous text (for writing a
 revision report) I successfully found out how to insert glyphs from
 LilyPond's Emmentaler font in (Xe)LaTeX documents and wrote a few
 first commands (thanks to Google and Werner Lemberg).

 As this may well be useful for anybody writing about music with LaTeX,
 I decided to make a package out of it. The project is hosted at
 https://github.com/uliska/lilyglyphs.

 The package is already useable, but there will be some syntax changes
 in the near future, so I'd rather not use it extensively (you can see
 the issues in the tracker to get an impression).

 For now there are a few predefined commands for glyphs, and a generic
 command to access glyphs by their name, so anything should already be
 possible.

 In the download section there is a pdf that documents how it works so
 far and also gives a good impression on what it looks like.
 You may either clone into the repository or download the package
 archive from the download page. So far there aren't any useful
 installation instructions, but I think it should work. You can place a
 symlink to the .sty file and a symlink to the definitions/ directory
 in the directory of your .tex file, and it should work.

 I will be away for two weeks but would be happy to find a few
 collaborators afterwards to join the project.
 a) there are a few issues that I would prefer not to decide alone but
 rather discuss,
 b) a few issues with LaTeX programming where I'd appreciate some help,
 and
 c) the ultimate goal is to cover the whole glyph set, but this will
 only become reality with several contributors. I will happily work on
 glyphs that I use personally, but there are so many things I won't use
 ...

 I hope this is on interest to anybody. Please feel free to forward
 this message to whom it may concern ...

 Best
 Urs

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Re: Subject: Re: lilyglyphs LaTeX package

[Urs Liska]

The package doesn't have real installation instructions (or even an 
installation procedure) yet (something for 0.1, a first official release).


Fortunately xelatex-ubuntu is what I have, so I can tell you how you 
will make it work.


One issue is that there are included files in a subfolder. (I assume 
I'll have to do something about that for a 'real' packaged version.)


As a dirty quick 'installation' I recommend:

 * place lilyglyphs.sty and the complete definitions/ folder somewhere
   on your disk, e.g. in a directory ~/lilyglyphs.
 * place the Emmentaler OTF file from the OTF folder in ~/.fonts
   (Maybe you have to run fc-cache afterwards to update your
   fontconfig cache - but I don't know for sure, I can't do any harm
   anyway)
 * create symlinks to lilyglyphs.sty and the definitions/ folder _in
   the directory_ where your .tex file is located:
   ln -s ~/lilyglyphs/lilyglyphs.sty
   ln -s ~/lilyglyphs/definitions
   - This is going to pretend that the package is in the same dir as
   your .tex file.
   Alternatively you can (for testing the package) put your .tex file
   in the directory where lilyglyphs.sty is.

You may get  long lists of 'kpathsea' errors. This is what I had on some 
of my computers (not only with this package but also earlier with other 
OpenType fonts and fontspec). I finally found out that this happened 
when I had 'activated' the respective fonts with a font manager 
(FontMatrix). When all these references were away, fontspec worked fine.


Hope this helps (works)
Best
Urs


Am 16.08.2012 13:37, schrieb Stefan Thomas:

Dear Urs,
how can I install this package in my xelatex-system on ubuntu?


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Re: Subject: Re: lilyglyphs LaTeX package

[Werner LEMBERG]

  * place lilyglyphs.sty and the complete definitions/ folder somewhere
on your disk, e.g. in a directory ~/lilyglyphs.
  * create symlinks to lilyglyphs.sty and the definitions/ folder _in
the directory_ where your .tex file is located:
ln -s ~/lilyglyphs/lilyglyphs.sty
ln -s ~/lilyglyphs/definitions
- This is going to pretend that the package is in the same dir as
your .tex file.
Alternatively you can (for testing the package) put your .tex file
in the directory where lilyglyphs.sty is.

Ouch.  Why not simply put it into your local TEXMF folder, usually
~/texmf?  Then you don't have to do any further links!  If it doesn't
exist yet, you should create it.  An appropiate subdirectory is

  ~/texmf/tex/xelatex/lilyglyphs/


Werner

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