Ripple - a Tool for Producing Scores and Parts with Lilypond

I'd love to hear what you guys think about it. Best regards Sharon Rosner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Randomness in layout

of your answer is that lilypond can't irregularise (I am going to make this a new word) scores, out of the box, as it stands now. Andrew On 21/08/2015 18:13, Sharon Rosner lilypond-user-bounces+andrew.bernard=gmail@gnu.org on behalf of cico...@gmail.com wrote: Hi all, I

Randomness in layout

, thickness, ratio etc for each slur, in an automatic manner. Thanks, Sharon Rosner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Strings as variable names

d supports this already, I don't really get why this should be discouraged. Sharon Rosner -- View this message in context: http://lilypond.1069038.n5.nabble.com/Strings-as-variable-names-tp185113p185535.html Sent from the User mailing list archive at Nabble.com.

Re: Strings as variable names

> > And most programming languages have it. > > Uh what? Bourne shells can interpolate variables (written with $ rather > than \ by the way) into _double_-quoted strings. Maybe some other > shells can. > But what _programming_ languages allow interpolating into quoted strings? Um, let's see:

Re: Top margin

After a few hours of experiments (and re-reading the docs) I have arrived at a solution: It turns that the header (and footers I guess) is always vertically positioned according to the top-margin setting. So setting the top-margin will determine the space between the top edge of the page and the

Top margin

Hello I'm currently exploring layout in lilypond and have come across a problem which I haven't noticed before and it's kind of a show stopper for me. In Elaine Gould's excellent "Behind bars" she states: "Match the levels of top and bottom staves across facing pages, regardless of whether the

RE: lyp - a Package Manager for Lilypond

> Do you have a contributor's guide yet? The documentation could be improved a lot, but the README includes a section about developing packages: https://github.com/noteflakes/lyp#developing-packages Sharon Rosner -- View this message in context: http://lilypond.1069038.n5.nabble.com/

RE: lyp - a Package Manager for Lilypond

line bash script from the intertubes, you should be just as concerned about the 2000 lines of Ruby code inside lyp, or for that matter any piece of code installed on your machine. Sharon Rosner -- View this message in context: http://lilypond.1069038.n5.nabble.com/lyp-a-Package-Manager-for-Lilypond-tp18

Re: lyp - a Package Manager for Lilypond

the git repository, checks out the correct version, then copies the files to ~/.lyp/packages. As I wrote in the other message, lyp doesn't even require having git installed on your machine. It uses gitlib2 with ruby bindings. Sharon Rosner -- View this message in context: http://lilypond.1069038

RE: lyp - a Package Manager for Lilypond

r own machine), publishing and package references (any git URL), and versioning (using git tags). Considering the alternatives I think this solution we came up with is clearly the winner. If you can think of a better one please let me know. Sharon Rosner -- View this message in context: http

lyp - a Package Manager for Lilypond

ny questions, remarks or suggestions you may have. Happy Lilyponding, Sharon Rosner -- View this message in context: http://lilypond.1069038.n5.nabble.com/lyp-a-Package-Manager-for-Lilypond-tp186597.html Sent from the User mailing list archive at Nabble.com. __

Re: simplifying chromatic scale notation

> I just struggled with studying a complex music piece and thought that all the chromatic lines are horrible > to read in standard notation. and later > Maybe there is a problem for some instruments to find the right pitch > (especially for those with pitch > perfect), but i don't think that

lyp version 0.3.3 + new font packages

yout { \context { \Score \bravuraOn % alternatively, the font can be used for specific staves } } In a similar fashion, the lilyjazz package can also be used for creating jazz lead sheets. As always, I welcome critiques and suggestions. Happy Lilyponding, Sharon Rosner -- View this

Re: lyp version 0.3.3 + new font packages

And of course the link to lyp: http://noteflakes.github.io/lyp/ -- View this message in context: http://lilypond.1069038.n5.nabble.com/lyp-version-0-3-3-new-font-packages-tp187735p187736.html Sent from the User mailing list archive at Nabble.com.

Re: simplifying chromatic scale notation

> "make transposition harder"? Of all the disadvantages to attribute to equally-spaced notation systems, > this one seems like an unlikely candidate. It's one of their redeeming > features. Of all alternative systems discussed on this thread, the only one which is really appropriate for

Re: simplifying chromatic scale notation

> Hmmm… Seems like this primarily works for music without accidentals. Does it really work when you > have a lot of accidentals? Of course this practice is made for tonal music, but I've known musicians who could sight read and transpose entire scores. It's just a question of having the chops.

Re: simplifying chromatic scale notation

> > You could say the same about tablature. Obviously, it has its place. > > Even Bach wrote stuff for lute tablature. > ... > There are some lute tablatures of Bach's works for lute, namely for > BWV 995, 997, 1000. > But for some of them it's sure Bach didn't wrote the tablature > himself, for

Re: simplifying chromatic scale notation

> Of course a good musician needs to focus on every detail, but only the "bad" ones neglect the bigger > context. What like Florence Foster Jenkins-type bigger context? > The key is to focus on the "right" thing, which is in many cases NOT every > single note of an > chromatic scale, IMO. So

Variable slur thickness

Hi All The following example shows slurs of variable length, engraved using a bigger than normal thickness. The first slur looks a bit too thick, and I'm having a hard time balancing the slur thickness so both short and long slurs would look good.

Re: Variable slur thickness

> I was thinking about this just yesterday. Here's a reasonable solution: Fantastic! I refactored the code to make it easier to change the parameters: #(define (variable-slur-thickness min-l max-l min-t max-t) (lambda (grob) (let* ((cpt (ly:grob-property grob 'control-points)) (cp0

Re: Variable slur thickness

Hi Abraham, Putting this code into actual use, I found a show stopper. After a line break, the slur thickness stops being adjusted and reflects the default thickness value. Any idea? Sharon -- View this message in context:

Re: Variable slur thickness

> How should it look in situations like below? > > \score { > { c'1( \break d') \repeat unfold 12 { d' \noBreak } c'( \break c' d' c' d') } > \layout { > \override Slur.after-line-breaking = #(variable-slur-thickness 3 10 1.4 > 12.7) > } > } I created something similar to show the problem.

top-markup-spacing problem

Hi all, I’ve run into a problem when setting top-markup-spacing. When the markup is a score title, lilypond uses the basic-distance as the distance between the top margin and the top of the markup. When manually adding a top-level markup, however, the distance is calculated between the top

Re: top-markup-spacing problem

> … missing … > >> attached files > > :-) Simon Oh man, sorry for that! Sharon markup_margins.ly Description: Binary data markup_margins.pdf Description: Adobe PDF document ___ lilypond-user mailing list lilypond-user@gnu.org

Re: top-markup-spacing problem

Sharon Rosner wrote > Oh man, sorry for that! I should add that between my first and second message I've already found a possible workaround - adding an empty score using Devnull. But this solution is far from ideal as it confuses lilypond into using different sets of flexible vertical spac

Re: Variable slur thickness

> Thus again: how should it look, in cases where a broken slur has a > (very) long and a (very) short part? > Some average-thickness? Or something else? The problem is not with the broken slurs, but rather with the other slurs beginning on the second line. Look at the slurs on bars 15-16, 17-19,

Re: Variable slur thickness

> This problem arose before. > One needs to set 'thickness before-line-breaking, but then you don't > have access to the control-points, as far as I remember. > I'm not sure there is any way, have to think about it. Can you explain what’s going on? As far as I could tell from debugging the

Re: Slurs and augmentation dots

> It's not as hard as it looks, although you might find it quicker to > experiment with adjusting the slur in a small snippet before applying > the change to your full score, in order to save re-compilation time. As I'm dealing with pretty big scores (my current project is on the order of 250

Re: Slurs and augmentation dots

Noeck wrote > From Sharon's mails, and some tests, I get the impression that more > often than not, the slur looks worse with the default settings and > \override Dots.avoid-slur = #'ignore makes it look better. I could find > only very artificial cases in which a slur comes close to a dot and I >

Re: Variable slur thickness

> I've managed to bypass using before-line-breaking AND after-line-breaking > by assigning the function to the 'thickness property and having each grob > internally calculate its own control points rather than relying on it > being > calculated elsewhere (also attached): Works great! I improved

Re: Slurs and augmentation dots

After some digging around I found a way to fix this: \override Dots.avoid-slur = #'ignore Sharon -- View this message in context: http://lilypond.1069038.n5.nabble.com/Slurs-and-augmentation-dots-tp188448p188463.html Sent from the User mailing list archive at Nabble.com.

Slurs and augmentation dots

Hi all, Still on the subject of slurs, I found a potentially buggy behaviour of slurs when used in conjunction with dotted rhythms. Apparently, if the first or last notes of a slur are dotted, and on a staff line (whereby the dot is raised to the space immediately above), the slur is

Re: Fonts from the former fonts.openlilylib.org

Abraham, FWIW I totally support your decision to go "commercial", and as I said before in private, I'm already waiting to pay for your work. I also think you could benefit from offering your fonts for use in Finale in Sibelius, perhaps using the SMuFL standard. For those of you who are looking

Re: Use jazz fonts in LilyPond?

> Where do one get hold of these alternative fonts for Lilypond? Try here: https://github.com/noteflakes/lyp-lilyjazz/ Sharon -- View this message in context:

Re: Extended Helmholtz-Ellis JI PItch Notationn

FWIW a fork of Graham's repository now exists as a lyp package: https://github.com/noteflakes/lyp-microlily <https://github.com/noteflakes/lyp-microlily> Sharon Rosner -- View this message in context: http://lilypond.1069038.n5.nabble.com/Extended-Helmholtz-Ellis-JI-PItch-Not

Re: Use jazz fonts in LilyPond?

> > Try here: https://github.com/noteflakes/lyp-lilyjazz/ > > This is the original font by Torsten Hämmerle. Yes, and the lilyjazz package README clearly states so. > Since LilyPond 2.19.12 > it’s possible to use several notation fonts (including LilyJAZZ) without > having to install lyp or

The Henle Library app - how it works

Hi all, There has been some discussion about the new Henle Library app and speculation as to how they achieve dynamic layout. It turns out they have developed a tool to split their scores into individual staves, and then compose them again with varying space between the staves, and with the

Lilypond server

Hi all,Here’s something I played around with last night: a lilypond server. I found some old discussions of this idea, and an old bit of code by Han-Wen. Enclosed is a working server script and a client bash script to go with it.The server script starts a telnet server on port 12321. When a client

Re: Lilypond server

sorily read through; isn’t that a wrong comment in line 26, after (waitpid child)? Sorry if I’m being stupid, after all you have tested the script and something like that should have stopped it from working.Best, SimonOn 02.04.2016 07:12, Sharon Rosner wrote:Hi all,Here’s something I played around wit

Re: Lilypond server

> Lots of little things to adjust and improve here. Do you want to start a > github repository for this, or similar? [I am not sure what the state of > openlilylib is presently.] Worth having. For now I put the code in a gist, which is almost as good:

Weird error when using skipTypesetting

Hi all,I’m getting a bunch of "programming error: insane spring distance requested, ignoring it” etc errors when compiling the following:\version "2.19.37"music = \relative c' {   c1 d e f \bar "||"  \set Score.skipTypesetting = ##t  g a b c}{ \music }In addition, the music is cut immediately

Re: Weird error when using skipTypesetting

Sharon Rosner wrote > In addition, the music is cut immediately after the last note, and does > not show the bar line that I’m explicitly asking for: For anyone who's interested, I've found a workaround technique based on code in music-functions.scm. The code is here: https://gist.gith

Re: Lilypond error behaviour

>> If compiling the file has failed to such a degree that we are choosing >> to call it a "fatal error," that means the PDF is *not* suitable for >> further use. Conversely, if you think the generated PDF is still >> useful, then don't call what happened a "fatal error" - it must have >> really

Re: Lilypond error behaviour

> What's wrong with the exit code? I thought people rather complained > about the error message. For the given examples, the non-zero exit code signifies failure, when lilypond has actually completed its task - generating a PDF - successfully. And this goes hand in hand with the misleading

Re: Lilypond error behaviour

> Now it appears that there are people who want to change that > because they want to add some sort of post-processing by machine > (embedding LP in Makefiles, or into a server), or even just the > imposition of some tidier design principle that has nothing > to do with printing music. Lilypond's

Re: Lilypond error behaviour

> Except that the premise of this thread was that users refuse to look > _at_ _all_ at _any_ messages or error status and instead want to be able > to deduce the presence of errors from the existence of output files. > So it pretty much doesn't matter what we write on the console: it's not >

Re: Lilypond error behaviour

> More exactly, LilyPond's task is to read a LilyPond input file and > process its contained expression according to the setting of hook > variables (those may do something other than typesetting, for example > converting to a MusicXML expression and writing it out again). Some > processing may

Re: Lilypond error behaviour

> It would be a little less futile, if people would try harder to read > and to understand what was written and think about it. > Really no reason for a flame-war. That was not my intention, and I tried really hard to think about this problem. Call me slow :-) Sharon

Re: Lilypond error behaviour

> And secondly, to me it seems clear why the error is termed "fatal" - the > parser aborted. You don't want a compilation error to return a fatal error to > "make" and, because it receives a fatal error, make throws a fatal error and > crashes too, do you? The question is WHERE in the stack do

Re: Lilypond error behaviour

> And how many *programmers* actually bother to check compilation logs and fix > problems that are thrown up? If you want strict error handling then add a > --werror option to lilypond that just says "crash on error and let make > handle it", then those people using make can deal with the lack

Re: Lilypond error behaviour

> The non-fatal errors are re-raised as a fatal error after the pdf is > produced just to alert the user in the end that there were errors. And I > think that is what confuses most people here. The error was non-fatal > but still after everything is done, an additional fatal error is raised > to

Re: Lilypond error behaviour

>> If we can further pinpoint the discussion, given the current way lilypond >> handles parsing (or other) errors, what *is* the meaning of 'fatal error'? > > An error leading to a fatal error message and a non-zero exit status > because LilyPond does not see fit to deal with the input properly.

Re: lilyjazz?

You need to turn on usage of the jazz font like this: \version "2.18.2" \require "lilyjazz" \layout { \context { \Score \jazzOn } } chordNames = \chordmode { e1:maj7 ees:maj7 } melody = \relative c' { e1 ees } \score { << \new ChordNames {

Re: lilyjazz?

The lilyjazz package documentation: https://github.com/lyp-packages/lilyjazz Sharon -- View this message in context: http://lilypond.1069038.n5.nabble.com/lilyjazz-tp200044p200109.html Sent from the User mailing list archive at Nabble.com. ___