Re: Repeat with alternatives

[Richard Shann]

On Fri, 2015-10-02 at 22:47 -0500, David Wright wrote:
> > > > Would this be understood by the average musician?
> > > > 
> > > >|: fixed part 1 |1 alterrnative 1 |2 alternative 2 | fixed
> part 2 :|
> > > 
> > > Understood? Well "my" attached "partial solution" (which I've
> > > completed only by using inkscape)
> > 
> > Did you resort to inkscape to get the because you wanted an
> > end-of-second-time marker? LilyPond doesn't give one with this
> syntax
> 
> Absolutely. Earlier in the thread I wrote: "However, my partial
> solution fails to close the 2nd alternative's volta bracket, and I
> don't see any way of doing so. Perhaps someone more expert could help
> there with some sort of tweak." 

I thought I was missing the point :) this gets closer

\version "2.19.25"
{
a'8 b' c' e' c'2
a'4 b' 
\set Score.repeatCommands = #'((volta "1"))
d'4 g' 
\set Score.repeatCommands = #'((volta #f)) 
\set Score.repeatCommands = #'((volta "2"))
\set Timing.measurePosition = #(ly:make-moment -1/2) d'8 e' f' g' 
\set Score.repeatCommands = #'((volta #f))
%\once \hide  BarLine 
\once \override Score.BarLine.stencil = ##f  
\bar ":|."
\grace {s8}   \bar "|"
d''4 c'' b' a'
%5
a' b' c'' d'' \bar ":|."}

but the spacing looks suspicious to me ...
The commented out \hide command didn't work, that I don't understand.

Richard






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Re: arabic maqamat

[Thomas Morley]

2015-10-03 14:45 GMT+02:00 BB :
> Some time ago thankfully I got a code to use English language in arabic
> sheet music instead of italian from Harm (Thomas Morley).

Well, all I did was making the TabStaff display things like "½", etc.

> (I think he
> offered the code free for public use? See:
> https://www.mail-archive.com/lilypond-user@gnu.org/msg103827.html )

In case the questions arises:
All my codings published on this mailing list or the gernan forum are
public domain, unless I stated different or my coding affects
otherwise licensed stuff. Then the license for this stuff has to be
warranted.

>
> I added the code from the description of the maqam groups
> (See: http://lilypond.org/doc/v2.18/Documentation/notation/arabic-music.html
> )
> from arabic.ly.
>
> So now I can use the key signature of a maqam simply by name as it works
> with arabic.ly . I safed it to the other LP libs and can use it simply with
> the usual line
> \include  arabice.ly
> (The added "e" should remind me to the usage of English and prevent a naming
> collision with arabic.ly, the italian version.)
>
> The idea may be of interest for some special interest LP users? Should
> become a LP standard - IMO.



I think the TabStaff should accept quarter tones, etc, otherwise
quarter tone bendings will not be possible to print.
I had some privat mails about this with Federico, he may put up a pull
request at openlilylib.

Maybe I put up a patch for our source as well, but there are so many
things to do. Don't hold your breath for it.

Cheers,
  Harm

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Re: Tie doesn't show

[S]

I've tried a couple of these solutions and it the tie displays nicely
now. Thanks!

I got a related questions about ties and using multiple voices, but I'll
post that one in a new separate thread.

2015-10-02 21:14 GMT+02:00 Thomas Morley :

> 2015-10-02 20:10 GMT+02:00 Malte Meyn :
> >
> >
> > Am 02.10.2015 um 19:34 schrieb S:
> >>
> >> 4    | %10
> >>   <<{e e as as}\\{f,2 f}>> | %11
> >>
> > Ties can only start and end in the same voice. The << \\ >> construct
> begins
> > two new voices so you can’t have a tie from outside of this construct to
> > inside.
>
> But you can continue a previously stated and named Voice in the << \\
> >> construct:
>
> \new Voice = "one"
> {
> 4    | %10
>  << \context Voice = "one" {e e as as}\\{f,2 f}>> | %11
> }
>
>
> Cheers,
>   Harm
>
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Re: Question re title formatting

[BB]

As you correctly found out, as a matter of fact line breaks will not 
work in your code. As I did a lot of programming in the past I do not 
think that is wrong but usually a rule in such code arrangements. 
Another point is the comment mark "%" that invalidates the rest of the 
line CR etc. included ...


Simply read
http://lilypond.org/doc/v2.18/Documentation/notation/formatting-text.html
there is an example that you might adjust to your wish.

\markup {
  \fill-line {
\line { William S. Gilbert }
\center-column {
  \huge \smallCaps "The Mikado"
  or
  \smallCaps "The Town of Titipu"
}
\line { Sir Arthur Sullivan }
  }
}
\markup {
  \fill-line { 1885 }
}


Good luck!

On 03.10.2015 15:21, Brian Barker wrote:

At 15:01 03/10/2015 +0200, Bonly Bonly wrote:
There are lots of "%", say comments, that validate the rest of the 
line including braces.

\markup { \column
{
\fill-line { \large \bold \title } % title
\fill-line { \titleb }
\fill-line { \caps \piece \caps \composer }
\fill-line { \meter \arranger }
}
}


I'm not sure what you mean here: perhaps *in*validate?

The point is that the line break that should appear after "% meter" so 
that "\arranger" is not included in the comment and instead properly 
interpreted by Lilypond must be incorrect in the original .ly file. 
Notice also the clue that line breaks in what the enquirer describes 
as her "title information" do not appear correctly in the archive 
rendering.


Brian Barker

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Re: Question re title formatting

[BB]

Sorry, than there is no need for me to make noise ...

On 03.10.2015 16:26, Brian Barker wrote:

The enquirer's code works exactly as she wishes;



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Re: arabic maqamat

[Federico Bruni]

Il giorno sab 3 ott 2015 alle 15:29, Thomas Morley 
 ha scritto:

I think the TabStaff should accept quarter tones, etc, otherwise
quarter tone bendings will not be possible to print.
I had some privat mails about this with Federico, he may put up a pull
request at openlilylib.


I think that I'll do it next week, but I have to figure out a couple of 
things.




Maybe I put up a patch for our source as well, but there are so many
things to do. Don't hold your breath for it.


That would be great


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Ties or multiple voices

[S]

I'm not sure if this is the right forum for this question, but I'll post it
anyway. I think it has more to do with music notation in general, but after
reading a couple of threads, I'm confident some of you would be able to
answer the following question about the use of ties or voices.

I'm copying a piano arrangement into lilypond. I'ts a jazz ballad and so
there is a lot of inner movement going on. The notes in most of these
passages have been split into multiple voices to accommodate the various
note lengths. However, every now and then I run into something like this:

4 c,8 8 4 8 


and for some reason that g~ really annoys me. Wouldn't it be better to
write:

4 c,8 8 <<{g4. f8}\\{4 8 }>>


This way the top notes of the melody get separated from the rest and the
{g4~ g8} becomes {g4.}

Or in general: When is it OK to introduce a (temporary) new voice to
substitute for a tie? Or the other way around for that matter?

The following excerpt shows another example:

<<{2. r4}\\{4 a8 c}>>

If we put the b~ in a separate voice and give it a duration or 4 the tie
wouldn't be needed.

Any thoughts?
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Re: Question re title formatting

[Brian Barker]

At 15:43 03/10/2015 +0200, Bonly Bonly wrote:
As you correctly found out, as a matter of fact line breaks will not 
work in your code. As I did a lot of programming in the past I do 
not think that is wrong but usually a rule in such code 
arrangements. Another point is the comment mark "%" that invalidates 
the rest of the line CR etc. included ...


The end-of-line marker - when correctly encoded - terminates 
comments, of course.



Simply read
http://lilypond.org/doc/v2.18/Documentation/notation/formatting-text.html
there is an example that you might adjust to your wish.


Sorry, but you are missing the point here, in fact - indeed, two points.
1. It's not my code: I'm not the original enquirer.
2. The enquirer's code works exactly as she wishes; the problem is 
entirely with her (invisible) line breaks not being encoded properly. 
No-one needs to read the manual about formatting text, as the 
original code works.


Brian Barker 



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Re: Question re title formatting

[Simon Albrecht]

On 02.10.2015 18:29, Karen Billings wrote:

Lilypond incorporates the "meter" but ignores the "arranger"...


Can’t confirm that either on 2.18. If you’re still having the problem, 
then please post a complete compilable file as attachment for further 
checking.


One more point: I think I can imagine why you don’t use a \header block 
– in order to type \title instead of \fromproperty #'header:title within 
your markup definition. As long as you’re the only one to deal with the 
code, that’s perfectly fine. But it’s worth something to have code 
complying with the standards, so that it’s easier to read for others, or 
to parse by software. So you might consider nevertheless switching to 
the method described in 
, 
i.e. by redefining scoreTitleMarkup and/or bookTitleMarkup.


Yours, Simon

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Re: Question re title formatting

[David Kastrup]

Simon Albrecht  writes:

> On 02.10.2015 18:29, Karen Billings wrote:
>> Lilypond incorporates the "meter" but ignores the "arranger"...
>
> Can’t confirm that either on 2.18. If you’re still having the problem,
> then please post a complete compilable file as attachment for further

"Attachment" being the word.

I suspect that the preceding line has a non-standard line ending, most
likely just a CR or the line being wrapped by spaces rather than a
proper line end.  Then LilyPond will consider the next line just as part
of the comment ending the previous line.

-- 
David Kastrup

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partcombineApart and combined dynamics

[Malte Meyn]

Hi list,

I searched the list for a solution but haven’t found one yet. Is there a 
possibility to have \partcombine combine identical dynamics even when 
there are automatic or forced polyphonic sections? I’ve tried different 
things (see attached .ly). I don’t want to simply omit the dynamic of 
one voice (using \tag) because it doesn’t solve the problem: I would’ve 
to print everything polyphonic because hairpins from chords to 
polyphonic would fail. Any other ideas?


Malte
\version "2.19.27"

{
  \partcombine
  \relative {
\repeat unfold 3 {
  c''2\< c
  d(\f c)
  \break
}
  }
  \relative {
\tempo "automatic behaviour in this case: apart"
f'2\< f
f1\f
\tempo "You can force chords but this will be ugly for obvious reasons."
\partcombineChords
f2\< f
f1\f
\tempo "So force only the first measure; that leads to an unterminated/missing cresc."
f2\< f
\partcombineAutomatic
f1\f
  }

  \relative {
\tempo "Should look like this. But this is impractical for bigger examples."
2\< q
<< \new Voice { \voiceOne d'( c) } f,1\f >>
  }
}

partcombine_dynamics.pdf
Description: Adobe PDF document
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Re: download 2.19.28

[Phil Holmes]

That's a message from your browser, and is probably half true: it's not 
commonly downloaded because it is quite new.  Nothing we can do.  You can 
ignore it.

--
Phil Holmes


  - Original Message - 
  From: MING TSANG 
  To: Lilypond-user Mailinglist 
  Sent: Saturday, October 03, 2015 2:15 AM
  Subject: download 2.19.28


  I try to download to-day and I got the following message.



  Also it seem there there is no activity on user mailinglist.
  Immanuel,
  Ming




--






--


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Re: Question re title formatting

[BB]

There are lots of "%", say comments, that validate the rest of the line 
including braces.


\markup { \column

{

\fill-line { \large \bold \title } % title

\fill-line { \titleb }

\fill-line { \caps \piece \caps \composer }

\fill-line { \meter \arranger }

}

}



On 03.10.2015 14:53, Brian Barker wrote:

At 13:41 03/10/2015 +0200, David Kastrup wrote:

On 02.10.2015 18:29, Karen Billings wrote:

Lilypond incorporates the "meter" but ignores the "arranger"...


I suspect that the preceding line has a non-standard line ending, 
most likely just a CR or the line being wrapped by spaces rather than 
a proper line end. Then LilyPond will consider the next line just as 
part of the comment ending the previous line.


I think one can see from the rendering of the original enquiry in the 
archive at
http://www.mail-archive.com/lilypond-user@gnu.org/msg105369.html that 
something of this sort is indeed the case.


Brian Barker

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Re: Question re title formatting

[Brian Barker]

At 15:01 03/10/2015 +0200, Bonly Bonly wrote:
There are lots of "%", say comments, that validate the rest of the 
line including braces.

\markup { \column
{
\fill-line { \large \bold \title } % title
\fill-line { \titleb }
\fill-line { \caps \piece \caps \composer }
\fill-line { \meter \arranger }
}
}


I'm not sure what you mean here: perhaps *in*validate?

The point is that the line break that should appear after "% meter" 
so that "\arranger" is not included in the comment and instead 
properly interpreted by Lilypond must be incorrect in the original 
.ly file. Notice also the clue that line breaks in what the enquirer 
describes as her "title information" do not appear correctly in the 
archive rendering.


Brian Barker  



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arabic maqamat

[BB]

Some time ago thankfully I got a code to use English language in arabic 
sheet music instead of italian from Harm (Thomas Morley). (I think he 
offered the code free for public use? See:

https://www.mail-archive.com/lilypond-user@gnu.org/msg103827.html )

I added the code from the description of the maqam groups
(See: 
http://lilypond.org/doc/v2.18/Documentation/notation/arabic-music.html )

from arabic.ly.

So now I can use the key signature of a maqam simply by name as it works 
with arabic.ly . I safed it to the other LP libs and can use it simply 
with the usual line

\include  arabice.ly
(The added "e" should remind me to the usage of English and prevent a 
naming collision with arabic.ly, the italian version.)


The idea may be of interest for some special interest LP users? Should 
become a LP standard - IMO.




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Re: Question re title formatting

[Brian Barker]

At 13:41 03/10/2015 +0200, David Kastrup wrote:

On 02.10.2015 18:29, Karen Billings wrote:

Lilypond incorporates the "meter" but ignores the "arranger"...


I suspect that the preceding line has a non-standard line ending, 
most likely just a CR or the line being wrapped by spaces rather 
than a proper line end. Then LilyPond will consider the next line 
just as part of the comment ending the previous line.


I think one can see from the rendering of the original enquiry in the 
archive at
http://www.mail-archive.com/lilypond-user@gnu.org/msg105369.html that 
something of this sort is indeed the case.


Brian Barker  



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Re: multiple TextSpanners per voice

[David Nalesnik]

On Fri, Oct 2, 2015 at 5:59 PM, David Nalesnik 
wrote:

>
>
> On Fri, Oct 2, 2015 at 5:49 PM, David Nalesnik 
> wrote:
>
>>
>> Horizontal_bracket_engraver achieves correct ordering of nested brackets
>> through the side-position-interface array 'side-position-elements.
>> Brackets closer to the staff are added to the support of brackets further
>> away.  However, this only works because 'outside-staff-priority is set to
>> #f by default.  As soon as you set it to a numerical value, chaos ensues:
>> the initial ordering is flipped AND the brackets flip orientation across
>> line breaks.  (See attached images.)
>>
>>
> So much for my analytical skills.  The blue bracket simply changes
> orientation across the line break with outside-staff-priority set to a
> number.
>
>
The problems with HorizontalBracket and TextSpanner may be "fixed" by
setting 'padding to a value ever-so-slightly higher than the value of
'outside-staff-padding. Both grobs are assigned an outside-staff-padding of
0.46 in lily/axis-group-interface.cc.  So, if we set padding to
0.46001, the ordering comes out OK when staff-priority is set.  (My
conjecture is that by setting 'padding higher than 'outside-staff-padding
we are signalling a collision, which is resolved by
avoid_outside_staff_collisions in axis-group-interface.cc.)

So here is a revised version of the TextSpanner code.  The intention is to
allow as many spanners per voice as you'd like.  This works with
'outside-staff-priority (set to 350 for TextSpanner, by default), but for
the time being, you need to add the 'padding override to handle line
breaks.  (Alternately, you could specify different staff-priorities for
individual spanners, as was done earlier in this thread.)

I hope this is useful.  Suggestions for improvement welcome!

DN
\version "2.19.12"

\header {
  texidoc = "Use @code{define-event-class}, scheme engraver methods,
and grob creation methods to create a fully functional text spanner
in scheme."
}

#(define-event-class 'scheme-text-span-event 'span-event)

#(define (add-grob-definition grob-name grob-entry)
   (let* ((meta-entry   (assoc-get 'meta grob-entry))
  (class(assoc-get 'class meta-entry))
  (ifaces-entry (assoc-get 'interfaces meta-entry)))
 (set-object-property! grob-name 'translation-type? ly:grob-properties?)
 (set-object-property! grob-name 'is-grob? #t)
 (set! ifaces-entry (append (case class
  ((Item) '(item-interface))
  ((Spanner) '(spanner-interface))
  ((Paper_column) '((item-interface
 paper-column-interface)))
  ((System) '((system-interface
   spanner-interface)))
  (else '(unknown-interface)))
  ifaces-entry))
 (set! ifaces-entry (uniq-list (sort ifaces-entry symbol___
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Re: Bfa-Bmi key signature?

[Graham King]

I think this got lost in the ether earlier in the week when the lists
were down, but someone might find the attached solution helpful.  It is
good enough for my purposes.  Grateful acknowledgments to Pierre
Perol-Schneider, Frank Z., and Urs Liska, all of whom unknowingly helped
with the solution.

-- Graham

On Wed, 2015-09-30 at 13:58 +0100, Graham King wrote:

> In transcribing a piece of renaissance music, I am trying to refine
> the following key signature:
> 
> \version 2.19.21
> \relative c' {
>   \set Staff.keyAlterations = #`(((-1 . 6) . ,NATURAL)
>  (( 0 . 6) . ,FLAT))
>   R1 b2 bes b' bes
> }
> 
> Ideally, the flat in the key signature should have a ledger line, and
> should be vertically aligned with the natural sign.  (There is a
> corresponding keysig in bass clef which also needs this alignment)

Oops, of course I meant that the _natural_ sign should have a ledger
line (in treble clef).

> 
> I have looked at:
> 1) The re-writing of the key signature engraver in Scheme:
> https://lists.gnu.org/archive/html/lilypond-user/2015-08/msg00429.html
> 
> 
> 2) The addition of ledger lines to a key signature:
> https://lists.gnu.org/archive/html/lilypond-user/2014-11/msg00454.html
> 
> 
> 3) The Notation Reference
> http://lilypond.org/doc/v2.19/Documentation/notation/displaying-pitches#key-signature
>  and the sections of the Internals Reference that this refers to;
> 
> and I confess that I'm floundering a bit.  Well, more than a bit.  
> 
> This specific issue is quite common in early music, where the composer
> uses the hard hexachord.
> 
> Grateful for any help/guidance !
> 
> -- Graham 
> 
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\version "2.19.21"

%{
Print key signatures for transcriptions of early music in 
which hard and soft hexachords are juxtaposed.  In other 
words, in the absence of accidentals, B is natural or flat
depending on its octave.

Acknowledgments to:
* Urs Liska 

(http://lilypondblog.org/2014/03/music-functions-2-start-doing-something-useful/)
for drawing my attention to \temporary \override ... \revert.
* Pierre Perol-Schneider 
(http://lists.gnu.org/archive/html/lilypond-user/2014-11/msg00454.html)
for the lambda function on which this code is based.

To do: 
* This code is ripe for refactoring, but might be 
easier to read in its present form.  If refactored,
the interface could be something like:
\keysigBfaBmi "clef" "upperB" "lowerB" { ...music... }
  where: clef   := treble | bass
 upperB := natural | flat
 lowerB := natural | flat
* Add some error-checking.
%}

keysigBfaBmiTreble = 
  #(define-music-function (P L my-music)
  (ly:music?)
#{
  \set Staff.keyAlterations = #`(((-1 . 6) . ,NATURAL)
 (( 0 . 6) . ,FLAT))
  \set Staff.printKeyCancellation = ##f 
  \temporary \override Staff.KeySignature.stencil =
  #(lambda (grob) (grob-interpret-markup grob
  #{
\markup
\translate #'(0 . -3.5) {
\combine 
\translate #'(0 . 3.5)  
\musicglyph #"accidentals.flat"
  \combine
  \translate #'(-.4 . .5)
  \override #'(thickness . 2)
  \draw-line #'(1.5 . 0)
  \musicglyph #"accidentals.natural"
}
  #}))
#my-music
\revert Staff.KeySignature.stencil
#}
  )

keysigBfaBmiBass = 
  #(define-music-function (P L my-music)
  (ly:music?)
#{
  \set Staff.keyAlterations = #`(((-2 . 6) . ,FLAT)
 (( -1 . 6) . ,NATURAL))
  \set Staff.printKeyCancellation = ##f 
  \temporary \override Staff.KeySignature.stencil =
  #(lambda (grob) (grob-interpret-markup grob
  #{
\markup
{
\combine 
\translate #'(0 . -1)  
\musicglyph #"accidentals.flat"
\translate #'(0 . 2.5)
\musicglyph #"accidentals.natural"
}
  #}))
#my-music
\revert Staff.KeySignature.stencil
#}
  )

keysigBfaBfaTreble = 
  #(define-music-function (P L my-music)
  (ly:music?)
#{
  \set Staff.keyAlterations = #`(((-1 . 6) . ,FLAT)
 (( 0 . 6) . ,FLAT))
  \set Staff.printKeyCancellation = ##f 
  \temporary \override Staff.KeySignature.stencil =
  #(lambda (grob) (grob-interpret-markup grob
  #{

Re: 2.18.2 - Thoughts so far

[David Kastrup]

Edward Ardzinski  writes:

> 1) I was apparently following some good practices in 2.6.5, since what I've
> done in 2.18.2 has been essentially seamless.  But...
>
>   a) I miss my old editor, as I had a lot of code shortcuts built in it. 
> Still, I had not updated it in many years, so there was an ancillary text
> file of snippets.  I think with Notepad, a template file, and a code
> snippets file I will manage well.

Give Frescobaldi a try.  It's really nice.

> 3) The current advancements have me able to get basically where I was with
> LP 2.6.5 and AcidPRO 6, except for a for a few issues
>
>   a) the terminal fade out mentioned above
>
>   b) tempo changes in midi (have not yet tried that - any
> advice/warnings?)

Probably a+b are similar: accelerando/rallentando will likely not do
anything worthwhile: continuous control changes are not implemented I
think.

> 4) One final thought, as my snippets/code are in purgatory - what's the code
> switch at the beginning of the input file to turn off the point-n-click in
> the PDF output?  Thx!!!

#(ly:set-option 'point-and-click #f)

-- 
David Kastrup

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Re: download 2.19.28

[MING TSANG]

I follow the link from brian Barker, I saw lots of entry for Oct 03.
BUT, on lilypond-user Archives I only see one entry on Oct 3 mark at 1.07 am
I receive the latest from subscription lilypond-user digest:
lilypond-user Digest, Vol 155, Issue 25

 

 From: Brian Barker 
 To: Ming Tsang  
 Sent: Saturday, October 3, 2015 8:53 AM
 Subject: Re: download 2.19.28
   
At 01:15 03/10/2015 +, you wrote:
>Also it seem there is no activity on user mailinglist.

Interestingly, most or all of these messages - including your own - 
have not appeared on the archive at lists.gnu.org, but they do appear at
http://www.mail-archive.com/lilypond-user@gnu.org/ .

Brian Barker - privately  



   
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Re: 2.18.2 - Thoughts so far

[Edward Ardzinski]

Martin's "\pointAndClickOff " did the trick, but "#(ly:set-option
'point-and-click #f) " was what I used to use, David.

Frescobaldi is where I'm headed.   But I think an extended time using the
native tools will do me some good.  Even some of my oldest files were
difficult to revise, even using the same version.  I have some re-learnin's
to do.



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Re: Repeat with alternatives

[Wols Lists]

On 03/10/15 06:58, Brian Barker wrote:
> At 19:30 02/10/2015 +0100, Anthony Youngman wrote:
>> At the end of the day, it's down to the conductor to make sure the
>> players know what they're doing.
> 
> But surely engraved music is designed to indicate this unambiguously? If
> the conductor needs to get involved, the representation has failed. If I
> compose music and publish ambiguous engravings, any conductor cannot
> know what I intended.
> 
Not really ...

In the Radetzky example it's pretty clear. It's just unusual. Which
means if the player hasn't checked their part (poor practice, I know)
and hits it unprepared, they're suddenly in a mess, not knowing where to go.

Have you ever hit the Hemel or Swindon magic roundabouts in a car? What
on earth do you do if you've never seen a magic roundabout before?
They're simple, ONCE you've twigged how they work, but coming upon one
unprepared is not the time to be trying to work out what to do!

Cheers,
Wol


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2.18.2 - Thoughts so far

[Edward Ardzinski]

1) I was apparently following some good practices in 2.6.5, since what I've
done in 2.18.2 has been essentially seamless.  But...

a) I miss my old editor, as I had a lot of code shortcuts built in it. 
Still, I had not updated it in many years, so there was an ancillary text
file of snippets.  I think with Notepad, a template file, and a code
snippets file I will manage well.

b) There were some pieces that I tried to do some instrument specific
things (I recall tweaking a lot of code for a cross staff arpeggio's in a
few piano pieces) - these will need work.  But for the most part, creating
midi files, well, game on!

2) The midi enhancements are great, I can put the dynamics in the music
score where they belong (I was cheating and doing that visually in another
program to manipulate the midi files), which can only make me a better
composer.  I guess I could have/should have been doing this in 2.6.5, but
since I have to use something else to get good instruments sounds...so far
the Lilypond instrument sounds are great.

a) While this is all good things, there apparently is a constraint on
getting a long terminal note to decrescendo in midi?  Anyone with a hack?

b) Articulations and dynamics are important.  And hard work.  Thanks...I
guess. ;-)

3) The current advancements have me able to get basically where I was with
LP 2.6.5 and AcidPRO 6, except for a for a few issues

a) the terminal fade out mentioned above

b) tempo changes in midi (have not yet tried that - any 
advice/warnings?)

c) effects: I was evolving towards a very dry mix anyway, so the fact 
that
the free-ware midi to mp3 converter has some digital artifacts (drums
especially - on an open high-hat I hear it a lot) is nto a fatal issue. 
These are after all demos..

4) One final thought, as my snippets/code are in purgatory - what's the code
switch at the beginning of the input file to turn off the point-n-click in
the PDF output?  Thx!!!



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Re: multiple TextSpanners per voice

[David Nalesnik]

On Sat, Oct 3, 2015 at 12:02 PM, David Nalesnik 
wrote:

>
>
> So here is a revised version of the TextSpanner code.
>
>
Oh *drat*  Attached the wrong file.  Apologies...

DN
\version "2.19"

%% Based on the rewrite of Text_spanner_engraver in
%% input/regression/scheme-text-spanner.ly

#(define (add-bound-item spanner item)
   (if (null? (ly:spanner-bound spanner LEFT))
   (ly:spanner-set-bound! spanner LEFT item)
   (ly:spanner-set-bound! spanner RIGHT item)))

#(define (axis-offset-symbol axis)
   (if (eq? axis X) 'X-offset 'Y-offset))

#(define (set-axis! grob axis)
   (if (not (number? (ly:grob-property grob 'side-axis)))
   (begin
(set! (ly:grob-property grob 'side-axis) axis)
(ly:grob-chain-callback
 grob
 (if (eq? axis X)
 ly:side-position-interface::x-aligned-side
 side-position-interface::y-aligned-side)
 (axis-offset-symbol axis)

schemeTextSpannerEngraver =
#(lambda (context)
   (let ((span '()) ; list of started spanners
  (finished '()) ; list of spanners in completion stage
  (event-start '()) ; list of START events
  (event-stop '())) ; list of STOP events
 (make-engraver
  ;; \startTextSpan, \stopTextSpan, and the like create events
  ;; which we collect here.
  (listeners
   ((text-span-event engraver event)
(if (= START (ly:event-property event 'span-direction))
(set! event-start (cons event event-start))
(set! event-stop (cons event event-stop)
  ;; Populate 'note-columns property of spanners.  Bounds are
  ;; set to note columns, and each spanner keeps a record of
  ;; the note columns it traverses.
  (acknowledgers
   ((note-column-interface engraver grob source-engraver)
(for-each (lambda (s)
(ly:pointer-group-interface::add-grob
 s 'note-columns grob)
(add-bound-item s grob))
  span)
(for-each (lambda (f)
(ly:pointer-group-interface::add-grob
 f 'note-columns grob)
(add-bound-item f grob))
  finished)))

  ((process-music trans)
   ;; Move begun spanners from 'span' to 'finished'.  We do this
   ;; on the basis of 'spanner-id.  If we find a match--either
   ;; the strings are the same, or both are unset--a transfer
   ;; can be made.  Return a warning if we find no match: spanner
   ;; hasn't been properly begun.
   (for-each
(lambda (es)
  (let ((es-id (ly:event-property es 'spanner-id)))
(let loop ((sp span))
  (let ((sp-id (ly:event-property
(event-cause (car sp)) 'spanner-id)))
(cond
 ((null? sp) (ly:warning "No spanner to end!!"))
 ((and
   (string? sp-id)
   (string? es-id)
   (string=? sp-id es-id))
  (set! finished (cons (car sp) finished))
  (set! span (remove (lambda (s) (eq? s (car sp))) span)))
 ((and
   (null? sp-id)
   (null? es-id))
  (set! finished (cons (car sp) finished))
  (set! span (remove (lambda (s) (eq? s (car sp))) span)))
 (else (loop (cdr sp
event-stop)

   ;; The end of our spanners can be acknowledged by other engravers.
   (for-each
(lambda (f)
  (ly:engraver-announce-end-grob trans f (event-cause f)))
finished)

   ;; Make spanners called for by START events.  To each new spanner,
   ;; add any existing spanners to the 'side-support-elements array.
   ;; This ensures correct ordering over line breaks when 'outside-
   ;; staff-priority is set to #f.  Ordinarily, for TextSpanner this
   ;; is 350.
   (for-each
(lambda (es)
  (let ((new (ly:engraver-make-grob trans 'TextSpanner es)))
(for-each
 (lambda (sp)
   (ly:pointer-group-interface::add-grob new
 'side-support-elements sp))
 span)
(set! span (cons new span))
(set-axis! (car span) Y)))
event-start)

   ;; Events have served their purpose for this timestep.  Clear
   ;; the way for new events in later timesteps.
   (set! event-start '())
   (set! event-stop '()))

  ((stop-translation-timestep trans)
   ;; Set bounds of spanners to PaperColumns if they haven't been set.
   ;; This allows spanners to be drawn between spacers.  Other uses?
   ;; Doesn't appear to affect whether spanners can de drawn between
   ;; rests.
   (for-each
(lambda (s)
  (if (null? (ly:spanner-bound s LEFT))
  (ly:spanner-set-bound! s LEFT
(ly:context-property context 'currentMusicalColumn
 

Re: 2.18.2 - Thoughts so far

[Martin Tarenskeen]

On Sat, 3 Oct 2015, Edward Ardzinski wrote:


4) One final thought, as my snippets/code are in purgatory - what's the code
switch at the beginning of the input file to turn off the point-n-click in
the PDF output?  Thx!!!


In the source use:
\pointAndClickOff

Or on the commandline:
-dno-point-and-click

Or when using Frescobaldi: LilyPond > Engrave (publish)

--

MT

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Re: 2.18.2 - Thoughts so far

[Ivan Kuznetsov]

Do yourself a serious favor and learn vi

Edward Ardzinski  wrote:
>
> with Notepad [...]

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Re: 2.18.2 - Thoughts so far

[PMA]

Hear, hear!

Ivan Kuznetsov wrote:

Do yourself a serious favor and learn vi


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Re: 2.18.2 - Thoughts so far.

[Edward Ardzinski]

I've been exposed to vi through work, and really failed to see the "thing"
that fuels the vi fan club.  Actually I can't recall the other side of that
turf war, but I know that Notepad is not even a dream in that conflagration.

Notepad has it's limitations, but...it's predictable.  At least to a boy
like me brought up in windows.  I find once I get my "template" together,
that and a repository of useful syntax gets me most of the way there.  As
much as I like intellisense, I do remember a day without it.



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Re: 2.18.2 - Thoughts so far

[David Kastrup]

Paul Scott  writes:

> On Sat, Oct 03, 2015 at 10:00:39PM -0400, PMA wrote:
>> Hear, hear!
>> 
>> Ivan Kuznetsov wrote:
>> >Do yourself a serious favor and learn vi
>
> Or Emacs!

At the current point of time, I find LilyPond-mode not a convincing case
for using Emacs.  I am using LilyPond-mode in order to use Emacs (as I
use it for everything, and it's a reasonably good deal when you do
that), but I don't think I'd be using Emacs in order to use
LilyPond-mode.

vi is a nice compact skill set to have (basically, you need to learn a
one-page help sheet or vi will be horrible, but the one page is enough)
whenever Emacs is not yet booted either on your computer or the user's
mind.

-- 
David Kastrup

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Re: 2.18.2 - Thoughts so far

[Paul Scott]

On Sat, Oct 03, 2015 at 10:00:39PM -0400, PMA wrote:
> Hear, hear!
> 
> Ivan Kuznetsov wrote:
> >Do yourself a serious favor and learn vi

Or Emacs!

Paul



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Re: Repeat with alternatives

[Jacques Menu]

Hello,

I’ve sometimes played scores with « 1st time only » and « 2nd time only » in 
such cases.
Is that often used by professional engravers?

JM

> Le 2 oct. 2015 à 20:27, David Wright  a écrit :
> 
> Quoting Johan Vromans (jvrom...@squirrel.nl):
>> On Thu, 01 Oct 2015 19:41:21 +0100
>> Anthonys Lists  wrote:
>> 
>>> Anyways, I think we've all missed the OPs problem. As he phrased it, I 
>>> understand he wants
>>> 
>>> {fixed part 1} {alternative 1} {alternative 2} {fixed part 2} repeat
>> 
>> I'm not familiar with a clean notation for the above. 
> 
> Nor me. It would usually help if the OP could post an example of what
> they wanted, either published or cobbled together.
> 
>> For the normal repeat, with alternative endings, this would be
>> 
>>   |: fixed part 1 |1 alterrnative 1 :|2 alternative 2 |
>> 
>> Would this be understood by the average musician?
>> 
>>   |: fixed part 1 |1 alterrnative 1 |2 alternative 2 | fixed part 2 :|
> 
> Understood? Well "my" attached "partial solution" (which I've
> completed only by using inkscape) would be understood in such a small
> piece. If it ran over several pages, then perhaps not. But even then,
> it couldn't be misunderstood upon reflection, because all its elements
> are used in a completely conventional manner. The only unusual thing
> is seeing no :| at the end of closed volta brackets (because you don't
> go back at that point).
> 
> Liked? Don't know. What do people think?
> 
> Useful? Well, it's funny how a piece immediately pops up that could
> benefit from such a construction. I'm looking at a copy of "When rooks
> fly homeward" by Arthur Baynon. It's a piece with two verses of 9 bars
> each, where the music for each verse is identical apart from the fifth
> bar whose rhythm is 8 4 8 4 4 and then 4 8 8 4 4.
> If I were asked to produce a copy on two staves for an accompanist
> (something I have often done), it would be an ideal candidate for this
> construction, though I certainly would not use half-bars.
> (But as it is, it's simple enough for most choirs to sight-read with
> no accompaniment, but for one soprano typo in that 84844 bar.)
> 
> Cheers,
> David.
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Re: Repeat with alternatives

[mskala]

On Fri, 2 Oct 2015, Richard Shann wrote:
> > > > {fixed part 1} {alternative 1} {alternative 2} {fixed part 2} repeat

> and it gives a warning which I don't understand. OTOH the
> end-of-second-time marker wouldn't serve any particular purpose - the
> player doesn't do anything special at that point.

Well, "end of second time" is also the place where the player picks up
after skipping over the second alternative during the *first* repetition,
so it's worth marking it in some way.

Is this a task that could be accomplished with careful use of segno, coda,
DS, DC, and so on?

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/

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