Re: trouble adding space between systems

2017-07-31 Thread Lukas-Fabian Moser
That would be because (as far as I understand) lilypond-book inserts your scores as single images, each containing one system. Hence, the space between systems that Lilypond would use plays no role here; instead, the spacing has to be defined in LaTeX. In my last large document,

Re: Ambitus with shape notes

2017-08-11 Thread Lukas-Fabian Moser
Hi Barry, unfortunately I do not have a ready-made solution - while it's possible to change the ambitus note heads to a single specific sign by issuing (for example) \override AmbitusNoteHead.style = #'do in the \layout block, this is not a solution since it changes both ambitus note heads at the

Re: Ambitus with shape notes

2017-08-11 Thread Lukas-Fabian Moser
c'4 d e b' } 2017-08-11 10:47 GMT+02:00 Lukas-Fabian Moser <l...@gmx.de>: > Hi Barry, > > unfortunately I do not have a ready-made solution - while it's possible to > change the ambitus note heads to a single specific sign by issuing (for > example) \override AmbitusNoteHea

Re: Ambitus with shape notes

2017-08-12 Thread Lukas-Fabian Moser
ece, it's luckily not > really relevant to me since the kind of music that's written using shape > notes almost never changes key. > > Cheers! > Barry > > > On 11 Aug 2017 10:07 am, "Lukas-Fabian Moser" <l...@gmx.de> wrote: > > Hi Barry, > > neverthel

Re: Parenthesize bass figures as a whole

2017-04-26 Thread Lukas-Fabian Moser
> > You know you can insert brackets doing what you want? > No, in fact I didn't - it never occured to me that the brackets inside figures <6 4> could be put around more than one figure at a time. Your solution fits my need perfectly - thanks very much!! Best! Lukas

Line breaks on a "where allowed" basis

2017-04-26 Thread Lukas-Fabian Moser
As far as I can see, the default line breaking behaviour in Lilypond is roughly as follows: "Break where forced by user (\break), add additional line breaks 'for best result'." By issuing \override NonMusicalPaperColumn.line-break-permission = ##f, this behaviour may be changed to: "Break where

Re: Line breaks on a "where allowed" basis

2017-04-27 Thread Lukas-Fabian Moser
> > > Is there a way to get something like > > "Break at most where allowed by user"? > > \once\autoLineBreaksOn ? Thanks a lot - sometimes it's so easy... :-) As for Thomas Morley's suggestion (setting penalties), this "sort of" works, but for me it created fewer line breaks, resulting in a

Re: Up and down arrows

2017-04-29 Thread Lukas-Fabian Moser
> > > Is there a way to put up and down arrows above the staff to indicate the > down and up beats? > > c'4 ^\markup { ↓ } f'4 ^\markup { ↑ } > An if they should be put in one nicely justified line, one could use lyrics: \version "2.19.44" << \new Lyrics = "beats" \new Staff \relative g' <<

Parenthesize bass figures as a whole

2017-04-25 Thread Lukas-Fabian Moser
Hello, I hope I don't mess up completely, this being my first posting to this list (which I nevertheless often consulted before). I'm looking for a way to parenthesize Bass figures in such a way that combinations of two or more figures get one single large pair of parentheses. If I parenthesize

Re: Changing alternative ending number to text

2017-08-09 Thread Lukas-Fabian Moser
Deriving from http://lsr.di.unimi.it/LSR/Item?id=316 (and regretting that I don't fully understand the scheme code involved): \version "2.19.44" Fine = \markup { \text \small FINE } test = \repeat volta 3 { e''1 | } \alternative { { c''1| } { a''1 \bar "|." | } { \set

Re: Can an augmentation dot be parenthesized?

2017-05-24 Thread Lukas-Fabian Moser
Hi Robert, > I would tather like to parenthesize these added augmenation dots but I've > not found a way to do that. > I don't know how to parenthesize them, but here is a solution yielding brackets around them: \version "2.19.44" #(define (special-bracketify original-stencil len thick

Chromatic clash in two voices

2017-05-05 Thread Lukas-Fabian Moser
In a situation like \version "2.19.44" \new Staff << \new Voice { \voiceOne b'!1 } \new Voice { \voiceTwo bes'!2 } >> Lilypond puts the two accidentals first, then the to note heads side by side ("flat-natural-notehead-notehead"). Is there a way to obtain the ordering

Percent-sign repeats for non-whole-measure patterns

2017-05-05 Thread Lukas-Fabian Moser
Is it possible to force Lilypond to use % as a repeat sign if the repeated section does not fill a whole measure? \relative c' { \repeat percent 2 { c4 d } \repeat percent 2 { c4 d e f } } Here, the first repeat is a slash /, the second a percent sign %. I'd like to have a % sign in both

Re: Chromatic clash in two voices

2017-05-06 Thread Lukas-Fabian Moser
> > If you could, how would you distinguish it from a 6/4 measure? > At most by suggestive spacing, I think - if at all. But that does not matter when you're scientifically editing manuscript musical examples - when doing so I'd like to replicate even those features of the author's writing habits

Forcing non-standard accidental behaviour

2017-09-15 Thread Lukas-Fabian Moser
Is it possible to force Lilypond into using strictly "relative" accidentals? What I mean by this: A raised 4th in d-major (g-sharp) gets a sharp sign. A raised 4th in f-major (b-natural) gets a natural sign. I want this to get a sharp sign as well; I even want "beses" to be printed with a single

Re: Forcing non-standard accidental behaviour

2017-09-15 Thread Lukas-Fabian Moser
> > Is it possible to force Lilypond into using strictly "relative" >> accidentals? >> >> What I mean by this: A raised 4th in d-major (g-sharp) gets a sharp sign. >> A raised 4th in f-major (b-natural) gets a natural sign. I want this to get >> a sharp sign as well; I even want "beses" to be

Re: improving Janek's \dynamic function (for combo dynamics)

2017-08-24 Thread Lukas-Fabian Moser
Hello, I'm almost embarassed to post this as it's the ugly result of "trying to learn scheme and lilypond internals all at the same time" - but at least it seems to work. I've tried to achieve exactly what you described: _If_ the first word is a dynamic expression, then Shevek's adjustment is

Re: Ambitus with shape notes

2017-08-25 Thread Lukas-Fabian Moser
> > > \version "2.19.44" > > > > #(define (nth n l) > > (if (or (> n (length l)) (< n 0)) > > (error "Index out of bounds.") > > (if (eq? n 0) > > (car l) > > (nth (- n 1) (cdr l) > > Seriously? > > #(define (nth n l) (list-ref l n)) > Of course not - being absolutely

Re: How about a StaffGroup containing a single Staff?

2017-11-15 Thread Lukas-Fabian Moser
> In the code below, the structure of the two StaffGroup's is similar, with > the second one having but one Staff in it. > Yet the latter doesn’t get a brace as the first one does. > Does

Re: polymeter line breaks

2017-11-27 Thread Lukas-Fabian Moser
You must explicitly allow Lilypond to create a line break in mid-measure. This is possible by \bar "". There are ways to do this automatically, but maybe in your case it's not so bad to keep control over which places you want to permit for a line break? But anyway:

Re: making all grobs breakable (for easier polymetric scores)

2017-11-26 Thread Lukas-Fabian Moser
Sorry for digging out this old thread: > \set Staff.barAlways = ##t > \set Staff.defaultBarType = "" > For me this only works when I replace Staff by Score. Is this to be expected? Best Lukas 2017-08-05 0:05 GMT+02:00 Malte Meyn : > > > Am 04.08.2017 um 19:33 schrieb

Re: Key change with simultaneous key cancellation

2017-11-21 Thread Lukas-Fabian Moser
> > > the Key Cancellation in the second staff is printed before (i.e. to the > left of) the new key signature in the first staff. Is it possible to get > them aligned? > > What about this? > Great, thanks much! This works perfectly (and the "drawback" that it spoils the placement of potential

Key change with simultaneous key cancellation

2017-11-21 Thread Lukas-Fabian Moser
Hello, in the following situation \version "2.19.80" \layout { \context { \Staff % \consists "Break_align_engraver" } } \new GrandStaff << \new Staff { s1 \key bes \minor \break s1 } \new Staff { \key fis \major s1 \key a \minor s1 } >> the Key

Re: Newbie having trouble with transposition(s)

2017-11-11 Thread Lukas-Fabian Moser
Welcome! :-) I've got most of the basics working however I'm having trouble with the > transpositions. They aren't working as I expected. I thought the > transposition function would take care of putting the parts into the right > key. But, all of the parts have a key signature of d minor (one

"Unconnected" simultaenous staff groups

2017-10-25 Thread Lukas-Fabian Moser
Hello, it is possible to remove the vertical line that connects simultaenous staves in each system at their beginning: This is useful in order to generate a score of musical examples (in a scientific context) that should be aligned "as if they were to be played simultaenously" (for easier

Re: "Unconnected" simultaenous staff groups

2017-10-25 Thread Lukas-Fabian Moser
But now I'd like to have the same not for staves but for piano staves/staff groups: Several piano staves, each of which has its own SystemStartBar (but the SystemStartBars themselves should not be connected to each other). In the following example, the SystemStartBar is missing in both piano

Re: Release schedule for 2.20

2018-05-09 Thread Lukas-Fabian Moser
Am 09.05.2018 um 17:23 schrieb Phil Holmes: Question: How difficult/costly/... would it be to prepare a "daily build from current master" for download? Very.  We are talking about 6 hours of build time on a pretty solidly powered 8-processor machine.  Actually, we _were_ talking about that

Re: Release schedule for 2.20

2018-05-09 Thread Lukas-Fabian Moser
But an increasing number of questions asked in forums or on the lists can be answered by “compile current master or wait for 2.21.0”. And a huge number of answers requires at least 2.19.xx but people understandably don’t want to install an “unstable” version. IIUC, the situation used to be:

Easy definition of music function

2018-04-27 Thread Lukas-Fabian Moser
Folks, I sometimes enter music which consists of a lot of "patterns" where (relatively complicated) constructions of beams, tuplets etc. are used repeatedly with changing pitches. Of course I'd like to put those in a function. For instance, in a Mozart symphony I have   r16 \once \omit

Re: Easy definition of music function

2018-04-27 Thread Lukas-Fabian Moser
Use $pa $pb $pc (and make sure to add a space before adding something like ] afterwards) and $pd . For # in music expressions, Lily expects music expressions, not pitches. For $ it chooses the syntactical category according to expression type. Brillant! Thanks a bundle :-) I knew there must

Re: An unusual feature request concerning FiguredBass

2018-04-28 Thread Lukas-Fabian Moser
Robert, it's easier to help you if you provide a Minimal Working Example, otherwise it's hard to know what exactly you tried. Anyway: It's not problem at all to create multiple FiguredBass-environments. The line between them is a bit more tricky; I once used a rhythm staff with all bar

Generating pitches depending on key signature

2018-04-28 Thread Lukas-Fabian Moser
Folks, Assume I want a function that adds a second note a fifth a bove a given pitch (of course this is but an abstraction from a more complicated project). The difficulty is that this should behave accoding to the key signature in place. Hence, the fifth should not be always perfect but

Re: Generating pitches depending on key signature

2018-04-28 Thread Lukas-Fabian Moser
Mark, A snippet to create octaves. Perhaps you could modify. http://lsr.di.unimi.it/LSR/Item?id=445 Thanks much for the pointer! This definitely helps me understand how to write something like that and integrate it with Lilypond. I'm afraid, though, that this example does not tackle the

Re: Center text over measure

2018-05-11 Thread Lukas-Fabian Moser
Well, looking more closely shows me that I'd prefer a solution that doesn't even require a a separate *voice*. The problem is that I'll also have to *export* the stuff in a clean way to MusicXML, and I don't think a hidden additional layer should be the way to go. Ideally I'd have something

Re: concatenating notes with a music expression

2018-05-15 Thread Lukas-Fabian Moser
Thank you Gilles I have yet a problem, how can engrave the foo generated list in a score? #(make-sequential-music (foo seqI seqII)) or with list-splicing: #@(foo seqI seqII) Best Lukas ___ lilypond-user mailing list lilypond-user@gnu.org

Re: Large Time Signatures Within Staves?

2018-05-18 Thread Lukas-Fabian Moser
Hi Ben, I need to create a wind ensemble engraving where the time signatures are large and *within* the staves themselves, overlapping specific instruments/groups throughout the score. I know how to place the time signatures above the staff but I can't find a way to place them within the

Re: Large Time Signatures Within Staves?

2018-05-18 Thread Lukas-Fabian Moser
When I increase the grob, how (or can?) I adjust it on the fly for certain pages if the distance between instruments change for layout reasons? Otherwise the grob would look 'off'. Something like that? \version "2.19.80" noTimeSig = { \omit TimeSignature } largeTimeSig = {  

Lilypond crashes while drawing systems

2018-06-14 Thread Lukas-Fabian Moser
Folks, I seem to have managed to create a Lilypond file that crashes my system (Linux Mint 64-Bit with kernel 4.4.0-98-generic) so hard that I have to shut it down using the power button. Even a bash script in background that kills the Lilypond process every few seconds cannot rescue

Re: Lilypond crashes while drawing systems

2018-06-14 Thread Lukas-Fabian Moser
I seem to have managed to create a Lilypond file that crashes my system (Linux Mint 64-Bit with kernel 4.4.0-98-generic) so hard that I have to shut it down using the power button. Even a bash script in background that kills the Lilypond process every few seconds cannot rescue reliably. :-( The

Re: lilypond-user Digest, Vol 186, Issue 108

2018-05-28 Thread Lukas-Fabian Moser
Another possible approach, for the temporary time changes, is can you display the new time signature without actually setting it? (Ie if the piece is in 2/4, you display 3/4 but lilypond still thinks its a 2/4 bar as before with no change. Then just use \times 2/3 {} for that bar so the

Re: Batch-apply tremolo markings? (Frescobaldi)

2018-06-04 Thread Lukas-Fabian Moser
Ben schrieb am Mo., 4. Juni 2018, 18:27: > Hello, > > I have been trying to find a quick way to 'paint' an articulation but have > not been successful. Frescobaldi has a ton of these markings built-in where > you can just select some of your score, select an articulation, and then > it's

Re: Batch-apply tremolo markings? (Frescobaldi)

2018-06-04 Thread Lukas-Fabian Moser
Ben schrieb am Mo., 4. Juni 2018, 19:16: > On 6/4/2018 12:58 PM, Lukas-Fabian Moser wrote: > > > > Ben schrieb am Mo., 4. Juni 2018, 18:27: > >> Hello, >> >> I have been trying to find a quick way to 'paint' an articulation but >> have

Re: Another Figured Bass problem

2018-05-02 Thread Lukas-Fabian Moser
Am 30.04.2018 um 12:28 schrieb David Kastrup: which can be achieved by using ‘_’ instead of a number. That's what I wanted to propose, but it didn't produce what I hoped for: \figures { < 5 4 > < _ 3+> } Oh. Ok. Sorry for the noise. I made this work for me by inserting at line 206 of

Re: Another Figured Bass problem

2018-05-02 Thread Lukas-Fabian Moser
Am 30.04.2018 um 12:28 schrieb David Kastrup: which can be achieved by using ‘_’ instead of a number. That's what I wanted to propose, but it didn't produce what I hoped for: \figures { < 5 4 > < _ 3+> } Oh. Ok. Sorry for the noise. I made this work for me by inserting at line 206 of

Re: Intervals enharmony question

2018-04-29 Thread Lukas-Fabian Moser
Jacques, Say I’m considering chords with an E flat root. Is is always true that: - the diminished fifth is B double flat - the augmented fifth is B natural - the diminished unisson is E double flat - the augmented unisson is E natural or can this depend on

Re: Tie across voices

2018-05-03 Thread Lukas-Fabian Moser
Hi David, Am 03.05.2018 um 18:29 schrieb David Sumbler: \version "2.19.81" \new Staff {   \time 6/8   << { \once \override MultiMeasureRest.staff-position = #10   R2. | r4. e'''~ } \\ { g''2.~ | g''~ }   >>  \oneVoice 2.~ | q | } One possibility would be:

Re: an "odd" accidental problem...

2018-07-27 Thread Lukas-Fabian Moser
Am 27.07.2018 um 16:01 schrieb Torsten Hämmerle: Addenda et corrigenda: I was mistaken, my example shown wasn't an example of D-sharp, but actually D-natural. So the order of accidentals is comprehensible. This becomes clear when taking the preceding measure (at the end of the preceding line)

Re: How to engrave a simple three-voice song in a single staff

2018-08-10 Thread Lukas-Fabian Moser
Hi Jakob, I'd like to have a simple three-voice traditional song in a single staff. - same notes should be merged to one note - the upper two voice should be merged to chords Maybe something like: \version "2.19.80" \new Staff \with { printPartCombineTexts = ##f }   <<     \partcombine   

Re: center figured bass vertically

2018-08-14 Thread Lukas-Fabian Moser
Hi Markus, thank you for your help. Your suggestion is a step in the right direction, but now I do have the problem that the figured bass is more nearby violin voice than cello voice: \version "2.19.82" violin = \relative c'' { e4 f4 g4 a4 } cello = \relative c' { g2. g4 } figuredBass

Re: line break immediately after start of volta

2018-07-14 Thread Lukas-Fabian Moser
Hi Sylvius, \version "2.18.2" \defineBarLine ".|:-everywhere" #'(".|:" ".|:" ".|:") { \repeat unfold 8 c'1 \bar ".|:-everywhere" \repeat volta 2 { \break \repeat unfold 16 c'1 } } Thanks for your quick response and your help! Your solution is certainly better than

Re: line break immediately after start of volta

2018-07-14 Thread Lukas-Fabian Moser
Hi Sylvius, I found examples of line breaks right after the beginning of a \repeat volta 2 in classical guitar literature (19th century). But this doesn't seem to be easy to do with LilyPond. This is what I have achieved so far: Try: \version "2.18.2" \defineBarLine ".|:-everywhere"

Re: Extend Whiteout property

2018-09-07 Thread Lukas-Fabian Moser
Dear Kieren, Am 07.09.2018 um 15:24 schrieb Kieren MacMillan: Hi Fox & folks, I wonder if it is possible to extend in the X-direction the whiteout property on a grob? This is something I’ve been musing about for about six months now. There are definitely situations where I want to have

Re: Extend Whiteout property

2018-09-07 Thread Lukas-Fabian Moser
Hi Kieren, Well done. Does it also work with other whiteout styles (e.g., outline)? Not yet. Of course, "rounded-box" would be nice to have (and probably not too hard to implement). I expect "outline" would be more involved; tbh, I'm not quite certain what the precise meaning would be for

Re: Position of rests

2018-09-10 Thread Lukas-Fabian Moser
Harm, a walk-through: [...] Trivial as it may seem to the more experienced LilyPond hackers, this might be a candidate for inclusion in the documentation! Especially the repeated application of the "display what's on hand" trick is enormously helpful, I think. Thank you! Best Lukas

Re: Extend Whiteout property

2018-09-10 Thread Lukas-Fabian Moser
What you can do now is * fork this repository * register the fork and the main Github repository as "remotes" in your local repository (I suggest to name them "github" and "" if you have the Savannah repository as "origin") * create a branch for your path * commit * push

Re: How to display a rim shot

2018-09-10 Thread Lukas-Fabian Moser
Would something like the following help? Just for ease of use: \version "2.19.82" slash-over-note = #(lambda (grob)   (let* ((note (ly:note-head::print grob)) (x-extent (ly:stencil-extent note X)) (y-extent (ly:stencil-extent note Y)) (scaling (magstep

Re: Extend Whiteout property

2018-09-10 Thread Lukas-Fabian Moser
Hi Urs, thanks for all the detailed explanations! So it would be nice if someone with the C++ knowledge could have a look at https://github.com/lilypond/lilypond/pull/3 and comment on it there. Note: the goal is not to merge the branch into the Github mirror but only to provide review. Once

Re: Extend Whiteout property

2018-09-08 Thread Lukas-Fabian Moser
Hi Harm, Is there a way that one of the more experienced developers might take a look at what I produced at help me in getting it up to scratch? A look at what you did would be helpful. ;) Could you post a git formated patch? Or a diff? Good idea - thanks for the suggestion! A diff is what

Re: Four Bars per Line/System, again :)

2018-07-13 Thread Lukas-Fabian Moser
Michael, thanks for drawing attention to this /superb/ tool! (It's quite old now but works flawlessly with current Lilypond versions). ...but with additional "\book"s for Bb and Eb instruments. I'd like to be able to avoid the potential for error in dealing with the odd line which needs to

page-turn-breaking and ragged-bottom

2018-04-10 Thread Lukas-Fabian Moser
Hello everybody, it seems that page-turn-breaking and ragged-bottom do not like each other very much. Is the following intended behaviour? The music should comfortably fit on one or two pages (one page is enough when I do not allow ragged bottom). Two pages would be okay, but three pages seem

Re: Articulation sign in Haydn

2018-04-08 Thread Lukas-Fabian Moser
Am 08.04.2018 um 16:08 schrieb Malte Meyn: Am 05.04.2018 um 20:48 schrieb Lukas-Fabian Moser: Can I help in any way? You could review my proposed changes at https://codereview.appspot.com/340660043 You don’t need to compile or review the code itself, just have a look at the PDF I

Re: Clefs

2018-04-05 Thread Lukas-Fabian Moser
Ethan, I am transcribing some baroque canons. Does anyone know how to make upside down/backwards clefs? How about: \version "2.19.80" rotClef = #(define-music-function     (line cl)     (number? string?)     #{   \once \override Staff.Clef.stencil =   

Re: Articulation sign in Haydn

2018-04-04 Thread Lukas-Fabian Moser
-bounces+carsonmark=ca.rr@gnu.org] *On Behalf Of *Lukas-Fabian Moser *Sent:* Wednesday, April 04, 2018 1:26 PM *To:* lilypond-user <lilypond-user@gnu.org> *Subject:* Articulation sign in Haydn Dear all, in a Haydn score I encountered the following articulation sign: Is there a way to

Re: Articulation sign in Haydn

2018-04-04 Thread Lukas-Fabian Moser
Dear Joram, thanks much for the comprehensive answer! For the moment I'll go ahead with solution 3, slightly modified: haydnOrnament = ^\markup \translate #'(-0.2 . 0) { \override #'(font-name . "Century Schoolbook L") \combine \fontsize #3 "~" \teeny \translate #'(0.39 . 0.2) "|" } (This

Re: Articulation sign in Haydn

2018-04-05 Thread Lukas-Fabian Moser
Dear Malte, I see another option: 4. Add this ornament to Feta. SMuFL is a good argument for that, if we want to support it some day. Would you, Lukas, be willing to wait for 2.21.0 and use that or compile your own LilyPond? Then I’d try to add such a glyph to Feta in the next few weeks.

Articulation sign in Haydn

2018-04-04 Thread Lukas-Fabian Moser
Dear all, in a Haydn score I encountered the following articulation sign: Is there a way to obtain this with Lilypond? I didn't succeed in searching the manuals and the LSR. Best Lukas ___ lilypond-user mailing list lilypond-user@gnu.org

Re: Key signatures in modes other than Ionian & Aeolian

2018-04-16 Thread Lukas-Fabian Moser
Am 17.04.2018 um 01:24 schrieb Torsten Hämmerle: Even if my opinion may differ from the general opinion here, I think that in popular music, one would use standard D major key signature. Reason: Two sharps clearly show D major tonic and the characteristic mixo tone C (flat seventh) stands out

Partcombine with rests

2018-04-20 Thread Lukas-Fabian Moser
Folks, in the following example \version "2.19.80" One = \relative d'' {   R1   r8 d4 e8 f4 } Two = \relative g' {   R1   r4 e4 d2 } \new Staff \partcombine \One \Two Lilypond treats the quarter note rest in the second voice as reason to put "Solo" and down-stem the first note of the first

Re: [Spam] Partcombine with rests

2018-04-20 Thread Lukas-Fabian Moser
Rutger, So: add \partcombineApart before bar 2 in either of your voices. You can revert in two ways: (1) \undo \partcombineApart (2) \partcombineAutomatic Ah, stupid me! I only tried \once \partcombineApart which didn't work. (I don't understand much of Lilypond's internals so can't tell

Re: Off topic - SITT 20 Studies in Double Stops

2018-04-24 Thread Lukas-Fabian Moser
The following is one excerpt from the Sitt book, 20 studies in Double Stops. Why in the first three measures the G, D and A are written as g4~4~4~4  d4~4~4~4  a4~4~4~4 instead of g1 d1 a1? Any idea? That’s clearly due to the pedagogical purpose; since the etudes are about Double Stops,

Re: Off topic - SITT 20 Studies in Double Stops

2018-04-24 Thread Lukas-Fabian Moser
One might add that string players sometimes tend to not precisely adhere to the written note length in polyphonic double stops: Think of the instances where Bach writes a longer note combined in polyphony with shorter notes which are _not_ legato. Playing non-legato and repeating the long note

Re: Printing lower continuo figures only

2018-03-30 Thread Lukas-Fabian Moser
Hi, I am currently reproducing a continuo part, and am having trouble achieving a particular effect: printing a continuo figure in the *lower *position only. So in the first example in the attached image, I want the '3' to appear on the lower line, at the same height as the '4' to the left

Re: Haydn Symphony No. 13 - Lilypond sources

2018-04-01 Thread Lukas-Fabian Moser
@gnu.org] *On Behalf Of *Lukas-Fabian Moser *Sent:* Sunday, April 01, 2018 11:10 AM *To:* lilypond-user <lilypond-user@gnu.org> *Subject:* Haydn Symphony No. 13 - Lilypond sources Hello everybody, probably this is a very stupid question (the answer being "obviously not"),

Haydn Symphony No. 13 - Lilypond sources

2018-04-01 Thread Lukas-Fabian Moser
Hello everybody, probably this is a very stupid question (the answer being "obviously not"), but I'll try my luck nevertheless: Petrucci library holds complete parts for Haydn's 13th symphony, typeset by user ViolonisteAmateur using Lilypond 2.10.33 back in 2009, under CC BY 3.0.

Re: Is lilypond suitable for big composition projects?

2018-03-22 Thread Lukas-Fabian Moser
Am 22.03.2018 um 16:35 schrieb Jonas Daverio: That may seem like a stupid question, but I've been using LilyPond with Frescobaldi for a year and a half, but I start to ask myself if it is as efficient as if I had used another tool like Musescore. My answer tends to be "no". While I usually

Re: GrandStaff vertical distance

2018-10-11 Thread Lukas-Fabian Moser
Hi, In the meantime, I found another solution for this, but this doesn't appear to be the easiest way to do it! I used systemStartDelimiterHierarchy instead which doesn't add any space within a family group. Again, with the LilyPond exemple, this will give: [...] I would be interested if

Re: GrandStaff vertical distance

2018-10-11 Thread Lukas-Fabian Moser
Hi David, Here is an implementation of that. Unfortunately I do not know if/how it is possible to define the function (which issues a \set) in such a way that it might be called in a \with block, which would be neater imho. Have you tried just calling it in a \with block? Stuff like \set is

Re: GrandStaff vertical distance

2018-10-11 Thread Lukas-Fabian Moser
With a little bit of scheme, it should even be easy to make this into a function accepting to parameters, indicating that k staves starting with the n'th staff should be braced. Here is an implementation of that. Unfortunately I do not know if/how it is possible to define the function

Re: GrandStaff vertical distance

2018-10-11 Thread Lukas-Fabian Moser
Hi, Thank you for this little function Lukas! It is very good and useful. Would it be possible to add to the list the choice for "square" or "bracket"? Some editions are using squares for grouping Violins 1-2. Ah, do you mean an extra bracket? No problem. I also added the possibility to skip

Re: GrandStaff vertical distance

2018-10-12 Thread Lukas-Fabian Moser
Hi, The StartDelimiterHierarchy gives the possibility to change the first bracket by anything you want, for instance: [...] It would be interesting if your function can manage also that! I guess this is what happens when you start coding before agreeing on a desirable user interface ;-).

Re: GrandStaff vertical distance

2018-10-13 Thread Lukas-Fabian Moser
Hi, Awesome! Thank you very much Lukas for this handy solution. I wonder why you have added two occurences for the barline (barlineOnly & barline) ? I thought it might be convenient: Since brace, bracket and square _imply_ that a barline is printed, it seemed more logical to me if you can

Re: GrandStaff vertical distance

2018-10-14 Thread Lukas-Fabian Moser
Hi Harm, thanks for your help in tidying up ;-). Though, the whole thread mixes up different topics. I'm not sure, tbh. Of course, setting delimiters and setting spacing should be thought of as mostly orthogonal aspects of setting up a score. The problem, I think, arises because (I think)

Re: \RemoveEmptyStaves not removing first line

2018-10-28 Thread Lukas-Fabian Moser
I am currently engraving a song for soprano and piano which begins with 15 measures of piano solo. I would like the soprano's staff not to show since it is not playing. \RemoveEmptyStaves does not seem to hide the first line of the piece. In current versions (there's no reason not to use

Re: \RemoveEmptyStaves not removing first line

2018-11-01 Thread Lukas-Fabian Moser
+1. I've *never* seen an ambitus except at the very beginning of a piece. I often use an ambitus in front- or end-matter, to give vocal ranges separate from the score itself. Of course, "front-matter" can be interpreted as "the very beginning of a piece", but I think of it as entirely

Re: \RemoveEmptyStaves not removing first line

2018-11-01 Thread Lukas-Fabian Moser
Am 01.11.18 um 01:34 schrieb Rohan Srinivasan: Thank you - I meant to reply to the list. I have the following: The problem is the Ambitus_engraver. The ambitus is given at the beginning of the piece, and if you do this, the first staff of the singing voice is not empty (but contains the

Re: \RemoveEmptyStaves not removing first line

2018-11-01 Thread Lukas-Fabian Moser
Where would you expect the Ambitus marker to show up if you do not want the staff to appear in the first system? First entry? I am not sure that the interfaces the Ambitus_engraver exercises would allow to make that difference, but if they did, this would be a reasonable expectation. Though

Re: chord duration

2018-10-31 Thread Lukas-Fabian Moser
Am 31.10.18 um 09:00 schrieb Gianmaria Lari: The following code... \version "2.19.82" \new ChordNames \chordmode { c8~c2 } displays C C. How can I make it display a single C chord that last 8~2? Durations may be modified using factors: since 2 is 4x 8 (hehe), you can write

Re: \RemoveEmptyStaves not removing first line

2018-10-31 Thread Lukas-Fabian Moser
(Replying to list, assuming you wrote to me personally only by accident, as implied by your wording): Am 31.10.18 um 00:42 schrieb Rohan Srinivasan: Could any of you give me an example of how \RemoveAllEmptyStaves is used? I have: \layout {   \context {     \Staff     \RemoveAllEmptyStaves  

Re: Temporary pedal bar

2018-11-04 Thread Lukas-Fabian Moser
Hi Gert, Am 03.11.18 um 14:18 schrieb Torsten Hämmerle: Gert Koetsier wrote How can I add a temporary pedal bar Hi Gert, I suppose you're talking about a temporary stave. The following snippet should solve your problem: Adding an extra staff

Enconding problems with musicxml2ly

2018-11-15 Thread Lukas-Fabian Moser
Dear List, I try to transfer music written in MuseScore 2.3.2 (Linux) to Lilypond using MuseScore's musicxml export and musicxml2ly from 2.19.80. In the ly file created by musicxml2ly, any quoted string contains strange characters which prevent Lilypond from compiling the file. On my

Re: Enconding problems with musicxml2ly

2018-11-16 Thread Lukas-Fabian Moser
Hi Urs, In the ly file created by musicxml2ly, any quoted string contains strange characters which prevent Lilypond from compiling the file. On my system, they are displayed thus (I include Kate's warning): This was discussed recently. I don't recall exactly what it was about but you might

Re: Function for tweaks

2018-10-06 Thread Lukas-Fabian Moser
Hi Helge, I want to save typing and it's tedious to write the complete tweak each time. But the Y size must be adapted each time. Therefore a function is necessary to change the current required value that is 6 in the example. I've experimented with define-markup-command and

Re: Define new articulation with markup or path (instead of glyph)

2018-09-30 Thread Lukas-Fabian Moser
Hi Urs,     upbow =     #(define-music-function ()()        #{          \tweak self-alignment-X #CENTER          -\markup "hin."        #}) because     c4 \upbow will fail with the complaint about an unexpected post-event (I have to write -\upbow) If you use define-event-function

Re: LilyPond issue 34 question

2018-09-26 Thread Lukas-Fabian Moser
Hi, My question is: are there actual music scores containing voices with initial grace notes groups of different lengths? Torsten already explained why all the grace groups at the beginning of the piece should all have the same length. To address your question: It's not hard to make them

Re: controlling the tie "gap" [and a possible bug?]

2018-11-16 Thread Lukas-Fabian Moser
Sorry for chiming in: I can't see that it this can really be regarded as a bug. Ending one slur and beginning another on the same note is not normal usage - in fact, I don't really know what it is supposed to mean. How does this meaning differ from having a single slur over all 5 notes? Will

Re: Looking for inter-note ornament

2018-12-31 Thread Lukas-Fabian Moser
\version "2.19.82" music = {   d''4.-2   \once \override Script.X-offset = -1   c''8[\upbow-1 b'-2 a'-3] } ... or by attaching \upbow to a spacer rest: \version "2.19" music = {   d''4.*2/3-2   s8\upbow   c''8[-1 b'-2 a'-3] } \score {   \music } Best & a happy new year to all of you! Lukas

Re: Scheme function returning \book

2019-01-16 Thread Lukas-Fabian Moser
Hi Aaron, Going back to the original function posted, if the output is meant to be a book that is more-or-less immutable and ready for printing, one could just do the following instead: \version "2.19.82" test = #(define-void-function (suffix) (string?)   (print-book-with-defaults #{   

Re: Space before barline

2019-01-20 Thread Lukas-Fabian Moser
Hi Andrew, Am 20.01.19 um 07:52 schrieb Andrew Bernard: OK. This is the magic to make space after the barline.     \override BarLine.space-alist.next-note = #'(semi-fixed-space . 5) But how does one get space between the last note in a bar and the barline? There's a large number of

Scheme function returning \book

2019-01-15 Thread Lukas-Fabian Moser
Folks, is it possible for a scheme function to return a whole \book ? test = #(define-scheme-function (suffix) (string?)  #{   \book {     \bookOutputSuffix #suffix     \score {   d4     }   } #} ) \test causes a "Bad expression type" error. In

Re: Scheme function returning \book

2019-01-15 Thread Lukas-Fabian Moser
\version "2.19.82" test = #(define-scheme-function (suffix) (string?)  #{   \book {     \bookOutputSuffix #suffix     \score {   d4     }   } #} ) \test "surname" (still) causes a "Bad expression type" error. Ah, well. Turns out that copying the code for \xxx here where \xxx was

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