date:20131221

Re: MIDI output: Possible to change PPQ?

2013-12-21 Thread Carl Peterson

On Sun, Dec 22, 2013 at 12:58 AM, Carl Peterson  wrote:
> On Sun, Dec 22, 2013 at 12:47 AM, James Harkins  wrote:
>> I was just searching, without success, for a way to change the number of
>> pulses-per-quarter in MIDI output. The default, 384, handles double
>> divisions and triplets, but quintuplets are inexact. I would rather use 480
>> for this particular file.
>>
> Am I missing something, since 384 / 4 = 96?
>
> Carl P.

Apparently I am, since quint = 1/5. Ignore my ramblings. It's 1AM here.

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Re: MIDI output: Possible to change PPQ?

2013-12-21 Thread Carl Peterson

On Sun, Dec 22, 2013 at 12:47 AM, James Harkins  wrote:
> I was just searching, without success, for a way to change the number of
> pulses-per-quarter in MIDI output. The default, 384, handles double
> divisions and triplets, but quintuplets are inexact. I would rather use 480
> for this particular file.
>
Am I missing something, since 384 / 4 = 96?

Carl P.

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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Werner LEMBERG

>> Here’s my request: I would love it if \compressFullBarRests actually did
>> what it says it does…  ;)
> 
> FWIW, I agree with Kieren. If I saw a part with some multimeasure
> rests broken for no obvious reason, e.g.
> 
> { \compressFullBarRests \mark \default R1*2 R1*2 \mark \default R1*2 }
> 
> I would think the publisher was insane or incompetent. I'm surprised
> this is LP's default behavior.

I also support this request.  Another reason is that in many parts of
percussion instruments, say, there is `tacet' for a very long time,
e.g. from rehearsal number 20 to 76.  A potential new implementation
of \compressFullBarRests (or a variant as suggested by David K.)
should allow compression of everything (including measure changes!)
into a single MM rest to span these two rehearsal numbers.


Werner
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Re: Alternative notation for guitar 7th chords

2013-12-21 Thread Alex Loomis

Here is the file. Convert-ly upgraded the syntax but something happened in
an internal fine that made a large part of it that changed the way
accidentals look not work, so I commented that part out. I'm not familiar
with pop notation, so if there's anything that needs to change let me know.


On Sun, Dec 22, 2013 at 12:03 AM, Alex Loomis wrote:

> I didn't see it in the LSR and the version of pop-chord.ly I found was
> written for 2.11.52, so it might not work perfectly. Give me a moment and
> I'll attach one that works with 2.17.95
>
>
> On Sat, Dec 21, 2013 at 10:06 PM, Tim McNamara wrote:
>
>> The easiest thing is using the pop-chords.ly alternatives to the default
>> chordname style, using \include.  I think it is available in the snippet
>> repository.  Or you can write your own chordname exceptions, the procedure
>> for which should be in the Notation reference.
>>
>>
>>
>> > On Dec 21, 2013, at 8:46 PM, Marten Visser  wrote:
>> >
>> > Hi Lilyponders,
>> >
>> > Typesetting my masterpiece is drawing to completion, and one fine point
>> of
>> > typesetting remains.
>> >
>> > \chordmode { c1:7 } typesets the 7 as a superscript. I'd like to know
>> how
>> > the 7 can be typeset on the baseline, like the m of a minor chord. I
>> > couldn't find any tweak that does that for me.
>> >
>> > Regards,
>> > Marten
>> >
>> >
>> >
>> >
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>>
>
>
% Pop chords as used in English/American popular music
% by James L. Hammons

% Written against \version "2.17.29"

chordFlat = \markup { \hspace #0.2 \tiny \raise #1.0 \flat }

chordSharp = \markup { \hspace #0.1 \teeny \raise #1.0 \sharp }

popChordsMusic =
{
% Triads

-\markup { "5" }
-\markup { "2" }
%   -\markup { "sus2" }

-\markup { "sus" }
%   -\markup { "sus4" }
%   -\markup { \small \raise #1.0 "o" }
-\markup { \raise #0.8 "o" }

%   -\markup { "dim" }
%   -\markup { "aug" } 
% or +

% Sixths

-\markup { "6" }

-\markup { "m6" }

% Sevenths (including altered)

-\markup { "7" }
-\markup { "m7" }
-\markup { "maj7" }

-\markup { "7sus4" }
-\markup { "7sus2" }
-\markup { "7" \chordFlat "5" }
-\markup { "7" \chordSharp "5" }

%   -\markup { "aug7" }
% or +7
-\markup { "m(maj7)" }
%   -\markup { \small \raise #1.0 { "o" } "7" }

-\markup { \raise #0.8 { "o" } "7" }
%   -\markup { "dim7" }
  

% -\markup { \small \raise #1.0 { $(ly:wide- char->utf-8 #x00f8) } "7" } % -\markup { \raise #0.8 { $(ly:wide-char- >utf-8 #x00f8) } "7" }

-\markup { "m7" \chordFlat "5" }
-\markup { "maj7" \chordFlat "5" }
-\markup { "maj7" \chordSharp "5" }


% Ninths (including altered--incomplete)

-\markup { "9" }
-\markup { "m9" }
-\markup { "maj9" }

-\markup { "add9" }
-\markup { "6/9" }
-\markup { "m6/9" }
-\markup { "m(maj9)" }

-\markup { "7" \chordFlat "9" }
-\markup { "7" \chordSharp "9" }
%dim7add9, dim7b9, dim7#9, 9#5, 9b5, maj9#5, maj9b5, 9sus4, 9sus2


% Elevenths (incomplete)

-\markup { "11" }
-\markup { "m11" }
-\markup { "maj11" }

-\markup { "add11" }
-\markup { "m add11" }
-\markup { "m7add11" }

% Thirteenths (incomplete)


-\markup { "13" }
-\markup { "m13" }
-\markup { "maj13" }
-\markup { "add13" }


% Misc add chords

-\markup { "7" \chordFlat "9" \chordFlat "13" }
-\markup { "7" \chordSharp "5" \chordFlat "9" }

-\markup { "maj9" \chordSharp "11" }
-\markup { "9" \chordSharp "11" }
}

% Add to existing exceptions

popChordsAdd = #(append
 (sequential-music-to-chord-exceptions popChordsMusic #t)
 ignatzekExceptions)

% Bah, can't we set this globally? YES! See below...
% \set chordNameExceptions = #popChords


% Bah, this doesn't work either...
% #(set chordNameExceptions popChords)


% Let's try fixing the accidentals with some Scheme...
%It breaks the file, let's not.

%{
#(define (chord-name->pop-markup pitch)

  (let* ((alt (ly:pitch-alteration pitch)))


  (make-line-markup
(list
  

(make-simple-markup (vector-ref #("C" "D" "E" "F" "G" "A" "B") (ly:pitch-notename pitch)))

  ;; If it's natural, do nothing

  (if (= alt 0)

(make-line-markup (list empty-markup))

(if (= alt FLAT)

  ;; Otherwise, handle adding the flat symbol


  (make-line-markup

MIDI output: Possible to change PPQ?

2013-12-21 Thread James Harkins

I was just searching, without success, for a way to change the number of 
pulses-per-quarter in MIDI output. The default, 384, handles double 
divisions and triplets, but quintuplets are inexact. I would rather use 480 
for this particular file.


The section in the notation reference on the \midi mentions that it may 
include a \tempo statement, and \context blocks. Web searching wasn't 
helpful either, so I suppose I'm stuck with 384.


How hard would it be to add something like \midipulses 4 = 480? (Is it 
something I could figure out by poking around in the source code?)


hjh

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Re: Alternative notation for guitar 7th chords

2013-12-21 Thread Alex Loomis

I didn't see it in the LSR and the version of pop-chord.ly I found was
written for 2.11.52, so it might not work perfectly. Give me a moment and
I'll attach one that works with 2.17.95


On Sat, Dec 21, 2013 at 10:06 PM, Tim McNamara  wrote:

> The easiest thing is using the pop-chords.ly alternatives to the default
> chordname style, using \include.  I think it is available in the snippet
> repository.  Or you can write your own chordname exceptions, the procedure
> for which should be in the Notation reference.
>
>
>
> > On Dec 21, 2013, at 8:46 PM, Marten Visser  wrote:
> >
> > Hi Lilyponders,
> >
> > Typesetting my masterpiece is drawing to completion, and one fine point
> of
> > typesetting remains.
> >
> > \chordmode { c1:7 } typesets the 7 as a superscript. I'd like to know how
> > the 7 can be typeset on the baseline, like the m of a minor chord. I
> > couldn't find any tweak that does that for me.
> >
> > Regards,
> > Marten
> >
> >
> >
> >
> > ___
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> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: 3x repeats

2013-12-21 Thread Alex Loomis

In many contexts it's preferable to write it out instead of using percent
repeats. If it's a long passage then it's frequently written pretty much
like you had it except with the x3 at the repeat sign.


On Sat, Dec 21, 2013 at 9:31 PM, Mark Stephen Mrotek
wrote:

> Xavier Noria,
>
>
>
> Look at
>
> http://www.lilypond.org/doc/v2.16/Documentation/notation/short-repeats
>
>
>
> Mark
>
>
>
> *From:* lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:
> lilypond-user-bounces+carsonmark=ca.rr@gnu.org] *On Behalf Of *Xavier
> Noria
> *Sent:* Saturday, December 21, 2013 6:25 PM
> *To:* lilypond-user
> *Subject:* 3x repeats
>
>
>
> Is this idiomatic notation for repeating those two bars three times?
>
>
>
>
>
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>
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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Alex Loomis

I agree entirely with James that the input looks good as is. Only
tangentially related, does the placement of the first mark bother anyone
else? I feel like it would look better after rather than over the clef.


On Sat, Dec 21, 2013 at 9:42 PM, James Harkins  wrote:

> James Harkins  gmail.com> writes:
>
> > FWIW, I agree with Kieren. If I saw a part with some multimeasure rests
> > broken for no obvious reason, e.g.
> >
> > { \compressFullBarRests \mark \default R1*2 R1*2 \mark \default R1*2 }
> >
> > I would think the publisher was insane or incompetent. I'm surprised
> this is
> > LP's default behavior.
>
> Hm, no, that example looks OK because of the older-style rest format.
>
> *This* looks nuts to me, and I don't recall every seeing anything like this
> in any part that I played from in wind bands in high school and college...
> why not just |--- 4 ---|?
>
> { \compressFullBarRests \override MultiMeasureRest #'expand-limit = #1
> \mark
> \default R1*2 R1*2 \mark \default R1*2 }
>
> hjh
>
>
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Re: Unwanted fretboard repeat

2013-12-21 Thread Federico Bruni

2013/12/22 Amreg 

> Le 21/12/2013 19:31, Federico Bruni a écrit :
>
>  2013/12/20 Amreg mailto:am@free.fr>>
>>
>>
>> Example below (tested in 2.16, but should behave the same in 2.17.x) :
>>
>>
>> No, it works as you expect on 2.17.x
>>
>
> Ok, thank you for the answer, I've just to get an 2.17.x release (which
> implies installing git, etc...) or maybe wait for upcoming 2.18  ;-).
>
>
Binaries of the development versions are available on lilypond.org:
http://www.lilypond.org/development.html

Installing these packages is pretty easy. Version 2.17.97 is a release
candidate.


> BTW, any idea on the second issue in my mail (the possibility, even as an
> option, to get rid of unwanted chord repeat at each and every line
> beginning, even when there is no chord change) ?
>

I can't help you, that's why replying to the list is highly recommended ;-)
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Question about parallel git repos of source/output files

2013-12-21 Thread Carl Peterson

I have a question for the git experts on the list. I've migrated my
current collection of lilypond projects to a git repository so that I
can migrate the source files among my various workstations and use
versioning as part of my editing process (so that I can theoretically
keep track of my changes). Since I'm working primarily on my iMac,
using the packaged editor, all my output files are going to the same
folder as my source files. I don't want them to necessarily be wrapped
up in my git repo for my source files, so I have the exclude file set
to ignore .pdf and .midi files.

That said, I would like to have a managed repository of my PDF and
MIDI files so that they can be shared from one computer to another. So
I have a couple of questions regarding that:

1) Is it possible to reconfigure the default LilyPond editor on a Mac
to output to a different location (something I did on the command line
in Linux)? Then I would be able to just shove those to a different
folder and either include them as separate files in the main repo or
run a separate git repo there.

2) Is it possible to interleave two repos so that in one folder in the
main repo, the main repo ignores PDF and MIDI files and the secondary
repo *only* tracks PDFs and MIDIs? The files that are actually
compiled are in a subfolder of the main repository folder.

Thanks,
Carl P.

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Re: Alternative notation for guitar 7th chords

2013-12-21 Thread Tim McNamara

The easiest thing is using the pop-chords.ly alternatives to the default 
chordname style, using \include.  I think it is available in the snippet 
repository.  Or you can write your own chordname exceptions, the procedure for 
which should be in the Notation reference.



> On Dec 21, 2013, at 8:46 PM, Marten Visser  wrote:
> 
> Hi Lilyponders,
> 
> Typesetting my masterpiece is drawing to completion, and one fine point of 
> typesetting remains.
> 
> \chordmode { c1:7 } typesets the 7 as a superscript. I'd like to know how 
> the 7 can be typeset on the baseline, like the m of a minor chord. I 
> couldn't find any tweak that does that for me.
> 
> Regards,
> Marten
> 
> 
> 
> 
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Alternative notation for guitar 7th chords

2013-12-21 Thread Marten Visser

Hi Lilyponders,

Typesetting my masterpiece is drawing to completion, and one fine point of 
typesetting remains.

\chordmode { c1:7 } typesets the 7 as a superscript. I'd like to know how 
the 7 can be typeset on the baseline, like the m of a minor chord. I 
couldn't find any tweak that does that for me.

Regards,
Marten




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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread James Harkins

James Harkins  gmail.com> writes:

> FWIW, I agree with Kieren. If I saw a part with some multimeasure rests
> broken for no obvious reason, e.g.
> 
> { \compressFullBarRests \mark \default R1*2 R1*2 \mark \default R1*2 }
> 
> I would think the publisher was insane or incompetent. I'm surprised this is
> LP's default behavior.

Hm, no, that example looks OK because of the older-style rest format.

*This* looks nuts to me, and I don't recall every seeing anything like this
in any part that I played from in wind bands in high school and college...
why not just |--- 4 ---|?

{ \compressFullBarRests \override MultiMeasureRest #'expand-limit = #1 \mark
\default R1*2 R1*2 \mark \default R1*2 }

hjh

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Re: How to create proper horizontal offsets?

2013-12-21 Thread Marten Visser

Eluze  gmail.com> writes:
> 
> hi Marten
> 
> maybe my explanations were to short
> 
> I send you an example code of what I mean (using your approach with cued
> notes, but simplified to one consecutive voice)  test1.ly
>   
> 
> if something is unclear or doesn't meet your needs, please ask!
> 
> Eluze
> 
> --
> View this message in context: http://lilypond.1069038.n5.nabble.com/How-
to-create-proper-horizontal-offsets-tp156252p156309.html
> Sent from the User mailing list archive at Nabble.com.
> 
Hi Eluze,

Thanks for your example. As a matter of fact, after having used LilyPond 
for quite a few years now, an important aspect of the use of \voicOne etc. 
has now become clear to me.

The song typesets correctly and transposition no longer causes any problems.

Many thanks,
Marten




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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread James Harkins

Kieren MacMillan  sympatico.ca> writes:

> Hello all,
> 
> Consider this snippet:
> 
> \version "2.17.97"
> 
> theMusic = {
>   \compressFullBarRests
>   R1*2
>   R1*2
> }
> 
> \score {
>   \theMusic
> }
> 
> Here’s my request: I would love it if \compressFullBarRests actually did
what it says it does…  ;)

FWIW, I agree with Kieren. If I saw a part with some multimeasure rests
broken for no obvious reason, e.g.

{ \compressFullBarRests \mark \default R1*2 R1*2 \mark \default R1*2 }

I would think the publisher was insane or incompetent. I'm surprised this is
LP's default behavior.

hjh

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RE: 3x repeats

2013-12-21 Thread Mark Stephen Mrotek

Xavier Noria,

 

Look at

http://www.lilypond.org/doc/v2.16/Documentation/notation/short-repeats

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Xavier 
Noria
Sent: Saturday, December 21, 2013 6:25 PM
To: lilypond-user
Subject: 3x repeats

 

Is this idiomatic notation for repeating those two bars three times?

 

 

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3x repeats

2013-12-21 Thread Xavier Noria

Is this idiomatic notation for repeating those two bars three times?
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Re: musicxml2ly bug: Fails on empty node

2013-12-21 Thread James Harkins

On Dec 21, 2013 5:56 PM, "pls"  wrote:
>
> On 21.12.2013, at 09:14, James Harkins  wrote:
>> I just found that it doesn't handle the case of an XML document where
the title node exists, but is empty. I've uploaded a zip archive of two
musicxml documents.
>
> we fixed this bug some time ago. See:
https://github.com/Philomelos/lilypond-musicxml2ly-dev.

Thanks for clarifying that.

> These files are not minimal examples and contain loads of faulty xml
markup.

... which Finale at least doesn't choke on. Whether Finale's result is
valid or not, I couldn't say. What I can say is that the musicxml2ly result
from the Finale file looked superficially reasonable at a quick glance. The
point being that Finale's error tolerance produces something that is at
least usable, even if awful, where musicxml2ly requires a standard of
correctness that was unfortunately not useful in this case.

I offered the files not as minimal examples for the specific empty title
issue, but as real-world use cases, on the supposition that musicxml2ly
would be more useful if it's better able to recover from flawed input.

hjh
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Re: calling all opera/musical engravers

2013-12-21 Thread Kieren MacMillan

Hi Jean-Charles,

Thanks for the response.

> Have you looked at Nicolas Sceaux's works (http://nicolas.sceaux.free.fr/)?

Yes… but I’ll do so again.

> Lily took care of everything.

That’s good to know — Lily’s all I’ve been using to date (except for the odd 
“academic” paper).

> For Bach, thanks to David Nalesnik and Thomas Morley, a function to center an 
> unique note and align it with R1\fermataMarkup (like in old scores).

Nice! Is that part of the regular distro now?

>> 3. What pitfalls are to be watched for (and hopefully avoided)?
> Part combining needs sometime to use tags in order to be correctly presented 
> to the conductor.

I’m going to start a whole new \partcombine thread/discussion, to see if we can 
knock that whole workflow out of the park.

>> 4. What limitations cannot [currently] be overcome?
> Resetting the page number at the beginning of the musical material (after 
> preface and libretto).

Do you know about bookpart-page-number?

#(define-markup-command (bookpart-page-number layout props) ()
(let ((first-page-number (ly:output-def-lookup layout 'first-page-number))
  (page-number (chain-assoc-get 'page:page-number props 0)))
  (interpret-markup layout props (format "~a" (1+ (- page-number  
first-page-number))

Cheers,
Kieren.
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Re: opera/musical engravers

2013-12-21 Thread Kieren MacMillan

Hi Jay,

> I am finished with my latest opera "The Map”

Congratulations!

> we're starting a kickstarter proposal in January or Feb.

Good luck — keep us updated on your progress.

> I did not use lily -book

That seems to be the consensus. (I’ve only used -book for “academic” purposes, 
e.g., papers comprising mostly text, with a few musical examples — all of my 
“scores with text” have been in Lilypond proper, and apparently it will stay 
that way.)

> Since I do not use bar lines when I compose it also allowed me to introduce 
> time signatures where they were needed in the top voice at all times.

For me, that’s a separate — and important — issue that I’m working to solve.

> the 'problems' with lily's transpositions.

Another separate and important issue to solve.

Thanks!
Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Kieren MacMillan

Hi David,

> "split points" would require a different signaling/wait framework.

While I appreciate the ingenuity here…  ;)

Consider if this is how auto-beaming were implemented — yuck.
Instead, we have \noBeam to break any automatic beam.

Why not do the same here?
i.e., Make \compressFullBarRests work as expected [to me, anyway :)], and have 
a command like \splitMMR to force a split where desired.

An implementation like that would allow “surgical” splits (e.g., within a 
single part) as well as “global” splits, while the “improved” 
\compressFullBarRests would solve [all?] problems like the ones I posted 
earlier in this thread.

Thoughts?

Thanks,
Kieren.
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Re: Odp: hotrizontal spacing question

2013-12-21 Thread Eluze

karol wrote
> Seems that \override NoteHead.extra-spacing-height = #'(-inf.0 . +inf.0)
> is the right solution.

interesting - do you have experiences with this in more complex situations
(polyphonic, more than one staff...)

Eluze



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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread David Kastrup

Kieren MacMillan  writes:

> Hi David,
>
>> Well, you would not count.  Instead you'd say something like
>> 
>> \R-until \atMark 8
>> or
>> \R-until \atmeasure 80
>
> Ah! I could see that being a *very* elegant solution for that problem.
>
> However, if one suddenly added, post-hoc, a “split point” in the
> [shared] global music, would it split the \R-until (as desired)?

"split points" would require a different signaling/wait framework.

Basically something like

\R-until #'(markB violin)

in one voice, and then you do in another voice/staff

\interrupt #'(violin viola) (which breaks all pending multimeasurerests
marked with violin or viola).

and at some point \mark "B" \resume #'markB (which makes all
multimeasure rests waiting for #'markB resume).

>> I am afraid that "2 before mark G" would be too ambitious since one
>> can't rewind the time.  But "x after" should be possible.
>
> That would definitely solve the vast majority of use cases — enough to
> make it worth implementing, per the old adage “the perfect is the
> enemy of the good”.

Well, the above signaling would make either work reasonably well, and it
would be robust against putting in more or fewer marks since it just
synchronizes points between different voices.

-- 
David Kastrup

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Re: Spanner.center.text property?

2013-12-21 Thread David Nalesnik

Hi Kieren,

On Sat, Dec 21, 2013 at 5:06 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi David,
>
> > I don't have time to work this out at the moment
>
> Fair enough!
>

I do have time for a simple demo, which just involves changing a variable
definition and adding a argument for text.  Awful, but you see it's doable.

>
> > but possibly you could adapt an analysis bracket.  Or for another hacky
> solution, you could mess with a MeasureCounter stencil, like I did here
>
> Thanks — I’ll make an attempt.
>
> > Maybe what you're wanting should get its own grob?
>
> Maybe! As it turns out, there are other issues involved, e.g., one
> [likely] only wants this to appear on the top staff of a system (or,
> perhaps, on whatever staves other “score-level” markings appear, e.g.,
> MetronomeMark, etc.). A separate grob might allow for more flexibility in
> that regard.
>

Yes, and you wouldn't kill the MeasureCounter for use with a separate grob.
 And there ought to be the option of stretching it over multiple measures.
 Possibly I can work something up over my break between semesters.  I'm
thoroughly embarrassed by the raggedy undigested code attached.

> I’m playing around with a test case, to see if I can get it close to the
> goal line — I’ll repost when I’m within sight of it.

OK!

--David
\version "2.17.25"

\header {
  snippet-title = "Bracket repeats"
  snippet-author = "David Nalesnik"
  snippet-description = \markup {
\wordwrap {
  This snippet is a workaround which creates a representation
  for repeats which consists of a bracket above a measure.  The
  number of repeats is expressed by a number centered within
  the bracket and formatted as "2x".  This is not a true
  solution as it creates an arbitrary stencil which does not
  convey a repeat structure understood by LilyPond.  Currently,
  the workaround will not accomodate repeats lasting more than
  a single bar and measures split across lines.
}
  }
  tags = "repeats, scheme"
  status = "unfinished"
}

%%%
%   THE SNIPPET   %
%%%

% The following procedure is a modification of the function
% `measure-counter-stencil' found in the file
% `scm/music-functions.scm' in the LilyPond distribution.

#(define (test-stencil grob text)
   (let* ((orig (ly:grob-original grob))
  (siblings (ly:spanner-broken-into orig)) ; have we been split?
  (bounds (ly:grob-array->list (ly:grob-object grob 'columns)))
  (refp (ly:grob-system grob))
  ;; we use the first and/or last NonMusicalPaperColumn grob(s) of
  ;; a system in the event that a MeasureCounter spanner is broken
  (all-cols (ly:grob-array->list (ly:grob-object refp 'columns)))
  (all-cols
   (filter
(lambda (col) (eq? #t (ly:grob-property col 'non-musical)))
all-cols))
  (left-bound
   (if (or (null? siblings) ; spanner is unbroken
   (eq? grob (car siblings))) ; or the first piece
   (car bounds)
   (car all-cols)))
  (right-bound
   (if (or (null? siblings)
   (eq? grob (car (reverse siblings
   (car (reverse bounds))
   (car (reverse all-cols
  (elts-L (ly:grob-array->list (ly:grob-object left-bound 'elements)))
  (elts-R (ly:grob-array->list (ly:grob-object right-bound 'elements)))
  (break-alignment-L
   (filter
(lambda (elt) (grob::has-interface elt 'break-alignment-interface))
elts-L))
  (break-alignment-R
   (filter
(lambda (elt) (grob::has-interface elt 'break-alignment-interface))
elts-R))
  (break-alignment-L-ext (ly:grob-extent (car break-alignment-L) refp X))
  (break-alignment-R-ext (ly:grob-extent (car break-alignment-R) refp X))
  (num
   (markup text))
  (num
   (if (or (null? siblings)
   (eq? grob (car siblings)))
   num
   (make-parenthesize-markup num)))
  (num (grob-interpret-markup grob num))
  (num-stil-ext-X (ly:stencil-extent num X))
  (num-stil-ext-Y (ly:stencil-extent num Y))
  (num (ly:stencil-aligned-to num X (ly:grob-property grob 'self-alignment-X)))
  (num
   (ly:stencil-translate-axis
num
(+ (interval-length break-alignment-L-ext)
  (* 0.5
(- (car break-alignment-R-ext)
  (cdr break-alignment-L-ext
X))
  (bracket-L
   (markup
#:path
0.1 ; line-thickness
`((moveto 0.5 ,(* 0.5 (interval-length num-stil-ext-Y)))
  (lineto ,(* 0.5
 (- (car break-alignment-R-ext)
   (cdr break-alignment-L-ext)
   (interval-length num-stil-ext-X)))

Re: Spanner.center.text property?

2013-12-21 Thread Kieren MacMillan

Hi David,

> I don't have time to work this out at the moment

Fair enough!

> but possibly you could adapt an analysis bracket.  Or for another hacky 
> solution, you could mess with a MeasureCounter stencil, like I did here

Thanks — I’ll make an attempt.

> Maybe what you're wanting should get its own grob?

Maybe! As it turns out, there are other issues involved, e.g., one [likely] 
only wants this to appear on the top staff of a system (or, perhaps, on 
whatever staves other “score-level” markings appear, e.g., MetronomeMark, 
etc.). A separate grob might allow for more flexibility in that regard.

I’m playing around with a test case, to see if I can get it close to the goal 
line — I’ll repost when I’m within sight of it.

Thanks!
Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Kieren MacMillan

Hi David,

> Well, you would not count.  Instead you'd say something like
> 
> \R-until \atMark 8
> or
> \R-until \atmeasure 80

Ah! I could see that being a *very* elegant solution for that problem.

However, if one suddenly added, post-hoc, a “split point” in the [shared] 
global music, would it split the \R-until (as desired)?

> I am afraid that "2 before mark G" would be too ambitious since one
> can't rewind the time.  But "x after" should be possible.

That would definitely solve the vast majority of use cases — enough to make it 
worth implementing, per the old adage “the perfect is the enemy of the good”.

Cheers,
Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread David Kastrup

Kieren MacMillan  writes:

> Hi David,
>
>> I have quite a few orchestra parts where multimeasure rest streaks of
>> several lengths are _not_ conflated.  Basically, each such rest stands
>> for a recognizable unit.
>
> I’ll look at Gould to see what her recommendations are.
>
> In any case, whether or not a best practice is known, the snippet I
> sent in response to Alex’s reply clearly shows a case where Lily is
> not behaving “as expected”.
>
>> What you need here in my opinion is something else: a command that just
>> passes time (using s or R or something else) until a specified event
>> occurs initiated from another voice, and then resumes.
>
> ?
>
> I don’t understand how that would apply to or solve this issue/problem
> — please give a [possibly pseudo-code] example.

Well, you would not count.  Instead you'd say something like

\R-until \atMark 8
or
\R-until \atmeasure 80

I am afraid that "2 before mark G" would be too ambitious since one
can't rewind the time.  But "x after" should be possible.

-- 
David Kastrup

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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Alex Loomis

I agree that in that case it should be fully compressed, but not in the
first example.


On Sat, Dec 21, 2013 at 5:39 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi Alex,
>
> > Two separate ones. As an orchestral performer those breaks are often
> used to signify the beginnings of sections to make counting easier, so if
> I'm resting and there are 8 bars of one theme followed by 8 of another, I
> find it much easier to keep my place when it's 8 and 8 instead of 16.
>
> That’s exactly why there are rehearsal marks, markup, cues, spanners,
> etc.: you [can] use them to break up the uninterrupted stretches of
> multi-measure rests — I don’t want to stop that from happening, of course.
>
> I’m simply trying to avoid problems like the one evident in the following
> snippet (where the second score should contain a three-measure MMR):
>
> \version "2.17.97"
>
> theGlobal = {
>   \compressFullBarRests
>   s1
>   s1-\tag #'(foo) -\markup "Foo only"
>   s1
> }
>
> theMusic = {
>   R1*3
> }
>
> \score {
>   \new Staff \keepWithTag #'(foo) << \theGlobal \theMusic >>
> }
>
> \score {
>   \new Staff \removeWithTag #'(foo) << \theGlobal \theMusic >>
> }
>
> Cheers,
> Kieren.
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Re: How to create proper horizontal offsets?

2013-12-21 Thread Eluze

Marten Visser wrote
> Eluze 
> 
>  gmail.com> writes:
> 
>  
>> when you transpose from as to c in the middle staff position the stem
>> direction changes - this is producing the warning about clashes.
>> 
>> if you put the as in a voice with clear settings (\voiceOne,...) opposite 
> to
>> that in the cued voice there will be no more collision and you might even
>> omit the manual shifting.
>> 
>> Eluze
>> 
>> --
>> View this message in context: http://lilypond.1069038.n5.nabble.com/How-
> to-create-proper-horizontal-offsets-tp156252p156255.html
>> Sent from the User mailing list archive at Nabble.com.
>> 
> 
> 
> Hi Eluze, thanks for you answer.
> 
> I understand your remark about the collision. I understand that you would 
> code it as a specific voice in order to avoid collisions providing for 
> setting a non-collisional stem direction, but in reality it is not a 
> specific voice I think; it only is a few notes that are different for one 
> or more of the stanzas. (Please correct me if my thinking is wrong.)
> 
> I tried your suggestion, replacing \cueVoice by \voiceOne, \voiceTwo, 
> \voiceThree or \voiceFour, but neither of these work:
> 
> 1. the stem from the "cuenotes" now disappears
> 2. the \override NoteColumn #'force-hshift won't work any longer
> 3. the notes appear in full size, which they should not
> 
> Besides, I don't understand why the horizontal shift may get lost at all 
> when transposing. The problem I'm facing it not about collisions, it's 
> about the loss of horizontal offset when transposing. (Or is that a 
> consequence of a collision)

hi Marten

maybe my explanations were to short

I send you an example code of what I mean (using your approach with cued
notes, but simplified to one consecutive voice)  test1.ly
  

if something is unclear or doesn't meet your needs, please ask!

Eluze






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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Kieren MacMillan

Hi David,

> I have quite a few orchestra parts where multimeasure rest streaks of
> several lengths are _not_ conflated.  Basically, each such rest stands
> for a recognizable unit.

I’ll look at Gould to see what her recommendations are.

In any case, whether or not a best practice is known, the snippet I sent in 
response to Alex’s reply clearly shows a case where Lily is not behaving “as 
expected”.

> What you need here in my opinion is something else: a command that just
> passes time (using s or R or something else) until a specified event
> occurs initiated from another voice, and then resumes.

?

I don’t understand how that would apply to or solve this issue/problem — please 
give a [possibly pseudo-code] example.

Thanks,
Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Kieren MacMillan

Hi Alex,

> Two separate ones. As an orchestral performer those breaks are often used to 
> signify the beginnings of sections to make counting easier, so if I'm resting 
> and there are 8 bars of one theme followed by 8 of another, I find it much 
> easier to keep my place when it's 8 and 8 instead of 16.

That’s exactly why there are rehearsal marks, markup, cues, spanners, etc.: you 
[can] use them to break up the uninterrupted stretches of multi-measure rests — 
I don’t want to stop that from happening, of course.

I’m simply trying to avoid problems like the one evident in the following 
snippet (where the second score should contain a three-measure MMR):

\version "2.17.97"

theGlobal = {
  \compressFullBarRests
  s1
  s1-\tag #'(foo) -\markup "Foo only"
  s1
}

theMusic = {
  R1*3
}

\score {
  \new Staff \keepWithTag #'(foo) << \theGlobal \theMusic >>
}

\score {
  \new Staff \removeWithTag #'(foo) << \theGlobal \theMusic >>
}

Cheers,
Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread David Kastrup

Kieren MacMillan  writes:

> Having just engraved nearly 25 minutes of music resulting in 57
> different individual parts, I can tell you that this issue inspired
> quite a bit of reduced efficiency, increased hackery, and even some
> loud swearing.  =)
>
> Thoughts?

I have quite a few orchestra parts where multimeasure rest streaks of
several lengths are _not_ conflated.  Basically, each such rest stands
for a recognizable unit.

What you need here in my opinion is something else: a command that just
passes time (using s or R or something else) until a specified event
occurs initiated from another voice, and then resumes.

-- 
David Kastrup

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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Alex Loomis

Two separate ones. As an orchestral performer those breaks are often used
to signify the beginnings of sections to make counting easier, so if I'm
resting and there are 8 bars of one theme followed by 8 of another, I find
it much easier to keep my place when it's 8 and 8 instead of 16.

Alex

On Sat, Dec 21, 2013 at 5:07 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi Alex,
>
> > I don't see what's wrong with the output, that's exactly what I would
> expect it to be.
>
> Does your output show a single four-measure MMR (which I would both want
> and expect it to be), or two two-measure MMRs (which is undesirable,
> primarily because it's distracting to the performer)?
>
> Thanks,
> Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Kieren MacMillan

Hi Alex,

> I don't see what's wrong with the output, that's exactly what I would expect 
> it to be.

Does your output show a single four-measure MMR (which I would both want and 
expect it to be), or two two-measure MMRs (which is undesirable, primarily 
because it's distracting to the performer)?

Thanks,
Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Alex Loomis

I don't see what's wrong with the output, that's exactly what I would
expect it to be.


On Sat, Dec 21, 2013 at 4:09 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hello all,
>
> Consider this snippet:
>
> \version "2.17.97"
>
> theMusic = {
>   \compressFullBarRests
>   R1*2
>   R1*2
> }
>
> \score {
>   \theMusic
> }
>
> Here’s my request: I would love it if \compressFullBarRests actually did
> what it says it does…  ;)
>
> See 
> for more discussion on this request.
>
> Despite David K’s suggestions that it might be difficult to work out what
> the user wants/means or what the output “should be”, I believe we can come
> up with a pretty simple single rule which covers >90% of the cases
> perfectly. As a first attempt, I would suggest the following:
>
> \compressFullBarRests will combine any contiguous block of
> multi-measure rests (within the same context*) which is uninterrupted by
> any "notation item”** other than a barline***.
>
> Notes:
> * This may be up for discussion — though, again, it will more than suffice
> for >90% of use cases.
> ** This wording sucks; needs “official” wording.
> *** There may be other items I’m not thinking of which are “outputtable"
> grobs which nevertheless should *not* split a compressed block of MMRs.
>
> Having just engraved nearly 25 minutes of music resulting in 57 different
> individual parts, I can tell you that this issue inspired quite a bit of
> reduced efficiency, increased hackery, and even some loud swearing.  =)
>
> Thoughts?
>
> Thanks,
> Kieren.
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Re: smallCaps and accented letters

2013-12-21 Thread Josiah Boothby

> I noticed in a score that I've recently typeset that smallCaps doesn't
> support accented characters (which is indeed written in the manual).
...
> For now, is there a workaround?

I don't remember how I found this (possibly through searching through
the mailing list archives, because that's how I found it again), but
Michael Lauer has a website that provides, among other things, some
include files that aid in some advanced formatting—including true small
caps, if they are supported by the font you use. I typically use Linux
Libertine, which looks nice enough and has all the characters I'm
likely to ever need to use. 

Links: 

Michael Lauer's music site 

Linux Libertine fonts: 

Best,

Josiah

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Re: LyricHyphen hara-kiri

2013-12-21 Thread Kieren MacMillan

Hi David,

> If you're not accidentally using the older version of the function, I have no 
> idea what could be going on.

Apparently I was — sorry.  =\

Every compressed string looks great now.
Thanks!

>> 2. If “foo-bar" happens over a barline, it probably shouldn’t be compressed; 
>> at the very least, that should be a settable property (analogous: 
>> #’to-barline).
> This probably wouldn't be too hard.  (That sounds like "famous last words"…)

=)

Fingers crossed!

Thanks,
Kieren.
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Re: LyricHyphen hara-kiri

2013-12-21 Thread David Nalesnik

Kieren,


On Sat, Dec 21, 2013 at 3:26 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:


> I think [to begin with] there are two separate issues to consider here:
>
> 1. In m.28, it’s clear that “foo bar” has not become one Pango string,
> which it apparently has on the downbeat of m.29 (and really “should”, I
> imagine, in any “ultimate fix”).
>

Now that's really strange!  I've attached my result below.  Same example as
the last one you gave, but I don't see those gaps.  If you're not
accidentally using the older version of the function, I have no idea what
could be going on.


> 2. If “foo-bar" happens over a barline, it probably shouldn’t be
> compressed; at the very least, that should be a settable property
> (analogous: #’to-barline).
>
>
This probably wouldn't be too hard.  (That sounds like "famous last
words"...)

-David
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Re: LyricHyphen hara-kiri

2013-12-21 Thread David Nalesnik

Kieren,


On Sat, Dec 21, 2013 at 2:30 PM, David Nalesnik wrote:

> Kieren,
>
> On Sat, Dec 21, 2013 at 2:18 PM, Kieren MacMillan <
> kieren_macmil...@sympatico.ca> wrote:
>
>
>>
>> Clearly, there’s a gap in several measures, right?
>>
>
> Yup.
>
>
>>
>> However, now that I look at the output again, there are no gaps to be
>> found — i.e., it apparently works as advertised/expected/desired. [??]
>> I will do more testing, and report back.
>>
>
> Actually, gaps--on the first line only--are what I see when I run the
> snippet under 2.17.95.  But, as you say, those gaps aren't in the original
> image you sent...
>

OK, a little experimentation showed that the right syllable, -bar, is not
shifted on the first line because, for some reason, there is no stencil for
the non-printed hyphen, yet there is one for the non-printed hyphens on
subsequent lines.  This means that the variable sten-ex gets assigned the
empty interval, and no shift occurs.

I don't know the best way to solve this, but this should at least work:

[File attached b/c I can't figure out how to cut&paste from Frescobaldi
without losing all formatting]


HTH,

David
<>\version "2.17.95"


#(define (hack threshold)
  (lambda (grob)
   (let* ((sten (ly:lyric-hyphen::print grob))
  (sten-ex (if (ly:stencil? sten)
   (ly:stencil-extent sten X)
   (cons (/ threshold -2.0) (/ threshold 2.0)
 (if (> (interval-length sten-ex) threshold)
 sten
 (let* ((left (ly:spanner-bound grob LEFT))
(right (ly:spanner-bound grob RIGHT))
(left-text (ly:grob-property left 'text))
(right-text (ly:grob-property right 'text))
(full-text (string-concatenate (list left-text right-text)))
(full-text-sten (grob-interpret-markup left full-text))
(full-text-sten-ext (ly:stencil-extent full-text-sten X))
(ref (ly:grob-common-refpoint left right X))
(left-ext (ly:grob-extent left ref X))
(right-ext (ly:grob-extent right ref X))
(shift (/ (- (interval-length (cons (car left-ext) (cdr right-ext)))
 (interval-length full-text-sten-ext))
  2)))
   (begin (ly:grob-set-property! left 'X-offset
(+ (ly:grob-property left 'X-offset) shift))
  (ly:grob-set-property! left 'text full-text)
  (ly:grob-set-property! right 'text "")
  (ly:grob-set-property! left 'stencil lyric-text::print)
  (ly:grob-set-property! right 'stencil lyric-text::print)
  (ly:grob-property left 'stencil)
  (ly:grob-property right 'stencil)
  empty-stencil))
<<
  \new Voice = "foo" \relative c' {
\time 1/4
\repeat unfold 23 { a8 b a[ b] }
  }
  \new Lyrics \lyricsto "foo" \lyricmode {
\override Lyrics.LyricHyphen.stencil = #(hack 0.5)
\override Lyrics.LyricHyphen.minimum-distance = #0
\repeat unfold 23 { foo -- bar foobar __ _ }
  }
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[Feature Request] \compressFullBarRests improvement(s)

2013-12-21 Thread Kieren MacMillan

Hello all,

Consider this snippet:

\version "2.17.97"

theMusic = {
  \compressFullBarRests
  R1*2
  R1*2
}

\score {
  \theMusic
}

Here’s my request: I would love it if \compressFullBarRests actually did what 
it says it does…  ;)

See  for 
more discussion on this request.

Despite David K’s suggestions that it might be difficult to work out what the 
user wants/means or what the output “should be”, I believe we can come up with 
a pretty simple single rule which covers >90% of the cases perfectly. As a 
first attempt, I would suggest the following:

\compressFullBarRests will combine any contiguous block of multi-measure 
rests (within the same context*) which is uninterrupted by any "notation 
item”** other than a barline***.

Notes:
* This may be up for discussion — though, again, it will more than suffice for 
>90% of use cases.
** This wording sucks; needs “official” wording.
*** There may be other items I’m not thinking of which are “outputtable" grobs 
which nevertheless should *not* split a compressed block of MMRs.

Having just engraved nearly 25 minutes of music resulting in 57 different 
individual parts, I can tell you that this issue inspired quite a bit of 
reduced efficiency, increased hackery, and even some loud swearing.  =)

Thoughts?

Thanks,
Kieren.
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Re: LyricHyphen hara-kiri

2013-12-21 Thread David Nalesnik

Kieren,

On Sat, Dec 21, 2013 at 2:18 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

>
> Clearly, there’s a gap in several measures, right?
>

Yup.

>
> However, now that I look at the output again, there are no gaps to be
> found — i.e., it apparently works as advertised/expected/desired. [??]
> I will do more testing, and report back.
>

Actually, gaps--on the first line only--are what I see when I run the
snippet under 2.17.95.  But, as you say, those gaps aren't in the original
image you sent...

To add to the fun, those gaps disappear when you remove
Time_signature_engraver.

(maybe that helps, maybe it doesn't!)

--David
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Re: LyricHyphen hara-kiri

2013-12-21 Thread Kieren MacMillan

Hi all,

This slightly altered snippet shows another problem with the fix/workaround: it 
doesn’t make “compressed” words into a [false] melisma automatically, as it 
clearly should — see, for example, when “foobar” appears on a single note.

\version "2.19"
#(define (hack threshold)
  (lambda (grob)
   (let* ((sten (ly:lyric-hyphen::print grob))
  (sten-ex (if (ly:stencil? sten)
   (ly:stencil-extent sten X)
   '(-inf.0 . +inf.0
 (if (> (interval-length sten-ex) threshold)
 sten
 (let* ((left (ly:spanner-bound grob LEFT))
(right (ly:spanner-bound grob RIGHT))
(left-text (ly:grob-property left 'text))
(right-text (ly:grob-property right 'text))
(full-text (string-concatenate `(,left-text ,right-text)))
(full-text-sten (grob-interpret-markup left full-text))
(full-text-sten-ext (ly:stencil-extent full-text-sten X))
(ref (ly:grob-common-refpoint left right X))
(left-ext (ly:grob-extent left ref X))
(right-ext (ly:grob-extent right ref X))
(shift (/ (- (interval-length `(,(car left-ext) . ,(cdr 
right-ext)))
 (interval-length full-text-sten-ext))
  2)))
   (begin (ly:grob-set-property! left 'X-offset
(+ (ly:grob-property left 'X-offset) shift))
  (ly:grob-set-property! left 'text full-text)
  (ly:grob-set-property! right 'text "")
  (ly:grob-set-property! left 'stencil lyric-text::print)
  (ly:grob-set-property! right 'stencil lyric-text::print)
  (ly:grob-property left 'stencil)
  (ly:grob-property right 'stencil)
  empty-stencil))
<<
  \new Voice = "foo" \relative c' {
\time 1/4
\repeat unfold 4 { a8 b a[ b] } \break
\repeat unfold 23 { a8 b a[ b] }
  }
  \new Lyrics \lyricsto "foo" \lyricmode {
\override Lyrics.LyricHyphen.stencil = #(hack 0.5)
\override Lyrics.LyricHyphen.minimum-distance = #0
\repeat unfold 23 { foo -- bar foobar }
  }
>>

Cheers,
Kieren.
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Re: LyricHyphen hara-kiri

2013-12-21 Thread Kieren MacMillan

Hi all,Just compiled Mike's most recent foo.ly file again, and there [again] appear to be gaps in the output:What do others see when they compile it?Thanks,Kieren.___
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Re: LyricHyphen hara-kiri

2013-12-21 Thread Kieren MacMillan

Hi David,I'm curious--how is Mike's solution not adequate as a workaround?You know what’s weird? I looked at it and found gaps in some of the “foobar”s — exactly what this fix/workaround is supposed to eliminate — so I took a screenshot and sent it to Mike:Clearly, there’s a gap in several measures, right?However, now that I look at the output again, there are no gaps to be found — i.e., it apparently works as advertised/expected/desired. [??]I will do more testing, and report back.Sorry for the noise.Kieren.___
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Re: LyricHyphen hara-kiri

2013-12-21 Thread David Nalesnik

Hi Kieren,


On Sat, Dec 21, 2013 at 1:19 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hello all,
>
> I’ve been asking around to see if anyone can work on Lyric bounties (e.g.,
> GSoC stuff, plus other features).
>
> This one — LyricHyphen hara-kiri — was one that Mike S. suggested could be
> done in Scheme, so he started it (see attached).
> Can anyone else take it to the goal line?
>
>
I'm curious--how is Mike's solution not adequate as a workaround?

--David
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Re: Two voices, two clefs, one staff

2013-12-21 Thread Nathan

On Sat, Dec 21, 2013 at 11:27 AM, Nathan  wrote:
>  \grace s8
>  \clef treble
>  s16
>  [...]

Oops, the treble clef should come after the spacer rest.

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Re: Two voices, two clefs, one staff

2013-12-21 Thread Nathan

On Sat, Dec 21, 2013 at 9:50 AM, Michael Rivers
 wrote:
>
> I'm typesetting the song "La Flûte enchantée" by Ravel. There's a bit in the
> piano part with notes from both bass and treble clefs displayed
> simultaneously (see jpgs). I thought I'd seen everything, but this has me
> stumped. Can anybody help? [...]

Hoo boy. This is an exceptionally tricky problem. See also
http://lsr.dsi.unimi.it/LSR/Item?id=326.

This is my attempt. I am using version 2.17.95, but I think it should
also work for yours. It does alter pitches and rhythms, so if you want
good MIDI, you'll need to use tags as in the above snippet. (By the
way, you should use \slashedGrace and not \appoggiatura here; the
latter creates an unwanted slur.)

\version "2.17.95"

global = {
  \key b \minor
  \numericTimeSignature
  \time 2/4
}

left = \relative c {
  \global
  <<
   { \voiceOne
 r8 gis'4( gis'8) | %16
 \set Staff.clefPosition = #2
 \set Staff.middleCPosition = #-6
 \grace s8
 \clef treble
 s16
 4*3/4( 4~ \times 2/3 { q4  ) } | %17
 4( ~ \times 2/3 { q4  ) } | %18
   }
   \new Voice {
 \voiceTwo
 \clef bass 2-> | %16
 \slashedGrace 8~ 1~ | %17
 \once \override NoteColumn #'force-hshift = #1.5 q | %18
   }
 >>

}

\score {
  \new PianoStaff \with {
  } <<
\new Staff = "left" { \clef bass \left }
  >>
}

Regards,
Nathan

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Re: WAS: SostenutoPedalLineSpanner and texts

2013-12-21 Thread Kieren MacMillan

Hi David,

> (This brings back bad memories of typesetting my composition dissertation 
> with Finale…)

Don’t remind me!

> My question would be: is there any reason why the part combiner shouldn't 
> create spanners?

+1
Kieren.
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Re: emacs point-and-click on OSX

2013-12-21 Thread Federico Bruni

2013/12/20 Kevin Patrick Barry 

> I assume it needs this guile to run and can't find it, so I changed
> the file to point to one I found in the LilyPond.app
> (/Applications/LilyPond.app/Contents/Resources/bin/guile), and now I
> get another error when I try to click on a link:
> ERROR: In procedure dynamic-link:
> ERROR: file: "libguile-srfi-srfi-1-v-3", message: "file not found"
>
> Since there is no libguile-srfi-srfi-1-v-3 I'm not sure what to do
> next.
>

In the linux package there are these files:

$ locate libguile-srfi
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-1-v-3.la
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-1-v-3.so
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-1-v-3.so.3
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-1-v-3.so.3.0.2
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-13-14-v-3.la
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-13-14-v-3.so
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-13-14-v-3.so.3
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-13-14-v-3.so.3.0.1
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-4-v-3.la
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-4-v-3.so
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-4-v-3.so.3
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-4-v-3.so.3.0.1
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-60-v-2.la
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-60-v-2.so
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-60-v-2.so.2
/home/fede/lilypond/usr/lib/libguile-srfi-srfi-60-v-2.so.2.0.2
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Re:emacs point-and-click on OSX

2013-12-21 Thread Kevin Patrick Barry

> (Oops, replied only to David...)
>
> Guile hasn?t been installed on my Mac (except as part of Lilypond). That
> is, the command guile didn?t work. I tried sudo port install guile, and it
> put a binary of version 1.8.8 in /opt/local/bin. Perhaps try that out.

Thanks for the suggestion. I installed the macports version of guile
and pointed lilypond-invoke-editor to it, but I still get the same
error message.

I found that someone else had a similar error message on OSX while
doing something else
(http://stackoverflow.com/questions/3805991/lilypond-mac-os-x-build-issue)
and I tried one of the proposed solutions (the library is present in
my /opt/local/lib) but it didn't have any effect.  At this point I
think I will just have to let it go.

Thanks,
Kevin

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Two voices, two clefs, one staff

2013-12-21 Thread Michael Rivers

I'm typesetting the song "La Flûte enchantée" by Ravel. There's a bit in the
piano part with notes from both bass and treble clefs displayed
simultaneously (see jpgs). I thought I'd seen everything, but this has me
stumped. Can anybody help? Here's what I've got so far:

\version "2.16.2"

global = {
  \key b \minor
  \numericTimeSignature
  \time 2/4
}

left = \relative c {
  \global
  <<
   { \voiceOne
 r8 gis'4( gis'8) | %16
 \clef treble 4( ~ \times 2/3 { q4  ) } | %17
 4( ~ \times 2/3 { q4  ) } | %18
   }
   \new Voice { 
 \voiceTwo
 \clef bass 2-> | %16
 \clef bass 
 \acciaccatura 8~ 1~ | %17
 q | %18
   }
 >>
  
}

\score {
  \new PianoStaff \with {
  } <<
\new Staff = "left" { \clef bass \left }
  >>
}

 
 



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Re: How to create proper horizontal offsets?

2013-12-21 Thread Marten Visser

Eluze  gmail.com> writes:

> when you transpose from as to c in the middle staff position the stem
> direction changes - this is producing the warning about clashes.
> 
> if you put the as in a voice with clear settings (\voiceOne,...) opposite 
to
> that in the cued voice there will be no more collision and you might even
> omit the manual shifting.
> 
> Eluze
> 
> --
> View this message in context: http://lilypond.1069038.n5.nabble.com/How-
to-create-proper-horizontal-offsets-tp156252p156255.html
> Sent from the User mailing list archive at Nabble.com.
> 

Hi Eluze, thanks for you answer.

I understand your remark about the collision. I understand that you would 
code it as a specific voice in order to avoid collisions providing for 
setting a non-collisional stem direction, but in reality it is not a 
specific voice I think; it only is a few notes that are different for one 
or more of the stanzas. (Please correct me if my thinking is wrong.)

I tried your suggestion, replacing \cueVoice by \voiceOne, \voiceTwo, 
\voiceThree or \voiceFour, but neither of these work:

1. the stem from the "cuenotes" now disappears
2. the \override NoteColumn #'force-hshift won't work any longer
3. the notes appear in full size, which they should not

Besides, I don't understand why the horizontal shift may get lost at all 
when transposing. The problem I'm facing it not about collisions, it's 
about the loss of horizontal offset when transposing. (Or is that a 
consequence of a collision)

Thanks,
Marten

---

% previous remarks pertain to the following change in the example
myMusic = {
<>
}

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WAS: SostenutoPedalLineSpanner and texts

2013-12-21 Thread David Nalesnik

Hi,

This question came in reference to a workaround given for repeating texts
on a broken pedal line:

On Fri, Dec 20, 2013 at 1:42 AM, Simon Bailey  wrote:
>
>> Could this be adapted to solve this problem:
>> http://lists.gnu.org/archive/html/lilypond-user/2013-12/msg00839.html ?
>> I'd be willing to offer a bounty if it can be done.
>>
>
>

The aim is to repeat "1." "a2" and the like when a solo or unison passage
is split across a page break.  (This brings back bad memories of
typesetting my composition dissertation with Finale...)

The workaround (given below) can't be applied to partcombine texts, since
CombineTextScript objects aren't spanners.  If they were, it would be
pretty straightforward to repeat their stencil with a different appearance
if broken across lines.  (This is done, for example, with MeasureCounter
spanners.)  As far as only repeating them if there's a page break (and not
simply for every system break), I'm not sure.

My question would be: is there any reason why the part combiner shouldn't
create spanners?

--David

The workaround:

%%

\version "2.17.95"

#(define broken-stil
   (lambda (grob)
 (let* ((orig (ly:grob-original grob))
 (siblings (ly:spanner-broken-into orig))
 (broken? (pair? siblings))
 (default-stil (ly:piano-pedal-bracket::print grob))
 (first? (or (not broken?)
   (eq? grob (first siblings)
   (if (and broken? (not first?))
   (let*
((text
  #{
\markup \italic "(Sost.)"
  #})
 (default-stil-ext-X (ly:stencil-extent default-stil X))
 (line-length (interval-length default-stil-ext-X))
 (text-stil (grob-interpret-markup grob text))
 (text-ext-X (ly:stencil-extent text-stil X))
 (text-length (interval-length text-ext-X))
 (text-padding 1.0)
 (scaled-line
  (ly:stencil-scale
   default-stil
   (/ (- line-length (+ text-length text-padding)) line-length)
   1)))

(ly:stencil-add
 (ly:stencil-translate-axis text-stil (/ text-length 2) X)
 (ly:stencil-translate-axis scaled-line (+ text-length
text-padding) X)))
   ; If we have the first piece (or unbroken) return default
   default-stil

{
  \override Staff.PianoPedalBracket.stencil = #broken-stil
  c4\sostenutoOn d e f
  \repeat unfold 20 { c4 d e f }
  c4 d e f\sostenutoOff
}

%%
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Re: Odp: hotrizontal spacing question

2013-12-21 Thread Karol Majewski

If you mean this:

{
  \override SpacingSpanner #'uniform-stretching = ##t
  \set Score.proportionalNotationDuration = #(ly:make-moment 1/200)
  \clef bass \times 4/6 { c16 e16 a,16 b,16 g,16 e16 }
  \times 4/6 { c16 e16 g,16 b,16 g,16 e16 }
  \times 4/6 { c16 e16 g,16 b,16 g,16 e16 }
  \times 4/6 { c16 e16 g,16 b,16 g,16 e16 }
  \times 4/6 { c16 e16 g,16 b,16 g,16 e16 }
  \times 4/6 { c16 e16 g,16 b,16 g,16 e16 }
  \times 4/6 { c16 e16 g,16 b,16 g,16 e16 }
}

...then it does not work. Spacing between stems is still uneven (look at the 
second and third note inside beamed group).

Seems that \override NoteHead.extra-spacing-height = #'(-inf.0 . +inf.0) is the 
right solution.




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Re: Appending coda on last line

2013-12-21 Thread Helge Kruse

2013/12/21 Thomas Morley 

> which version do you use?
> Could you provide a minimal exmple of your score-setup?
> I.e.:
>
>
I have a complete example. I tried to make it as small as possible. But
therere are 120 lines. Probably this makes it easier to show my idea. At
least it's complete and compileable. It uses an included file based on your
mail from last year.

There is one additional question. In the lyrics I would like to have
stanzas. But not in the coda part. I tried to find a solution to have in
the first measure of my example two lines of text, as this is suggested but
commented out. Any idea or hint?

Best Regards
Helge

\version "2.16.0"
\language "deutsch"
\include "codahelper.ily"

global = {
  \key es \major
  \time 12/8
}

tenorVoice = \relative c'' {
  \global
  \repeat volta 2 {
b8 a b  c b c d4.r |
\mark\markup {\small "D.S. " \musicglyph #"scripts.segno"
   " al "  \musicglyph #"scripts.coda"}
  }
  \space #10
  \key es \major
  \mark \markup { \musicglyph #"scripts.coda" }
  b4. b c d |
  es1. \bar "|."
}

verseTenorVoice = \lyricmode {
  % stanza 1
%  ha -- ben wir ei -- nes er -- kannt: |
  % stanza 2
  wir a -- ber hal -- ten zu -- samm': |
  % coda
  größ -- te Schatz den's | gibt.
}

baritonVoice = \relative c' {
  \global
  \repeat volta 2 {
 d8 d d  es es es  d4.  r |
  }
  \space #10
  \key es \major
  <<
{
  g4. g as as | g1.
}
\new Voice {
  \voiceTwo
  es4. es es f | b,1.
}
  >>
}

verseBaritonVoice = \lyricmode {
  % stanza 1
%  ha -- ben wir ei -- nes er -- kannt |
  % stanza 2
  wir a -- ber hal -- ten zu -- samm': |
  % coda
  größ -- te Schatz den's | gibt.
}

bassVoice = \relative c {
  \global
  \repeat volta 2 {
 b'8 b b a8 a a b4. b, |
  }
  \space #10
  \key es \major
  b'4. g f b, | es1. \bar "|."
}

verseBassVoice = \lyricmode {
  \skip 1 \skip 1 \skip 1 \skip 1
  \skip 1 \skip 1 \skip 1 Ein |
  größ -- te Schatz den's | gibt.
}

right = \relative c' {
  \global
  4.|

  \space #10
  \key es \major
  \braceBar #46
  4. q   |
  1.
  \bar "|."
}

left = \relative c {
  \global
  b4. f b b |

  \space #10
  \key es \major
  b'4. g f b, | es1.
  \bar "|."
}

tenorVoicePart = \new Staff { \tenorVoice }
\addlyrics { \verseTenorVoice }

baritonVoicePart = \new Staff { \baritonVoice }
\addlyrics { \verseBaritonVoice }

bassVoicePart = \new Staff { \clef bass \bassVoice }
\addlyrics { \verseBassVoice }

pianoPart = \new PianoStaff <<
  \new Staff = "right" \right
  \new Staff = "left" { \clef bass \left }
>>

\score {
  <<
\tenorVoicePart
\baritonVoicePart
\bassVoicePart
\pianoPart
  >>
  \layout { }
}


codahelper.ily
Description: Binary data
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Re: Odp: hotrizontal spacing question

2013-12-21 Thread Eluze

karol wrote
> Unfortunately "uniform-stretching" doesn't work here.

and it's also recommended there to use

proportionalNotationDuration = #(ly:make-moment 1/200) % choose your number!

to improve the results!
Eluze



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Re: How to create proper horizontal offsets?

2013-12-21 Thread Eluze

Marten Visser wrote
> Hi all,
> 
> Yesterday, I asked how a custom slur should be coded so that it gets 
> transposed properly. This was answered immediately, thanks to David 
> Nalesnik.
> 
> There's another related problem I run into when transposing scores, namely 
> horizontal offsets. In songs this is encountered frequently because the 
> stanzas may induce deviations from the rhythm.
> 
> In the example below one offset is changed when transposing. The log file 
> shows a warning: 
> warning: ignoring too many clashing note columns
>   <<
>   as'1 \new CueVoice = "SndStanza1" { \shiftNoteRight \stemDown 
> as2. f8[ f] }>> |
> 
> When you leave out the \transpose commmand, this error will not appear.
> 
> How could the code be changed that horizontal offsets will always be
> there?

when you transpose from as to c in the middle staff position the stem
direction changes - this is producing the warning about clashes.

if you put the as in a voice with clear settings (\voiceOne,...) opposite to
that in the cued voice there will be no more collision and you might even
omit the manual shifting.

Eluze



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Re: musicxml2ly bug: Fails on empty node

2013-12-21 Thread pls


On 21.12.2013, at 10:58, Urs Liska  wrote:

> What would be the necessary approach to port your -dev work back to main 
> LilyPond's musicxml2ly?
Nothing special.  It's a git repository.  I simply haven't had the time (and 
probably won't in the near future) to prepare small documented patches and go 
through the LilyPond review process. I still have quite a few additional bug 
reports and a lot of experience with MusicXML waiting to be shared with you...

patrick


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Re: How to transpose a custom slur

2013-12-21 Thread Marten Visser

Hi David,

David Nalesnik  gmail.com> writes:

> 
> Hi again,
> On Fri, Dec 20, 2013 at 6:08 PM, David Nalesnik  
gmail.com> wrote:
> 
> Sorry, goofed the syntax...
> 
>  should be
>   \shape Slur #'((0 . 0.25) (1.5 . 1) (0 . 1) (0 . 0.5))
> 

Thanks for your quick answer. Your second syntax works, thanks!
I used the 2.16.2 notation reference, that does not mention \shape.

And indeed, the entire staff should have been transposed ::blush::

Cheers,
Marten

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How to create proper horizontal offsets?

2013-12-21 Thread Marten Visser

Hi all,

Yesterday, I asked how a custom slur should be coded so that it gets 
transposed properly. This was answered immediately, thanks to David 
Nalesnik.

There's another related problem I run into when transposing scores, namely 
horizontal offsets. In songs this is encountered frequently because the 
stanzas may induce deviations from the rhythm.

In the example below one offset is changed when transposing. The log file 
shows a warning: 
warning: ignoring too many clashing note columns
<<
  as'1 \new CueVoice = "SndStanza1" { \shiftNoteRight \stemDown 
as2. f8[ f] }>> |

When you leave out the \transpose commmand, this error will not appear.

How could the code be changed that horizontal offsets will always be there?

Thanks,
Marten Visser

-

%{
How to transpose horizontal offsets?
%}

\version "2.16.2"

shiftNoteRight = { \once \override NoteColumn #'force-hshift = #1.5 }

myMusic = {
<> |
<>
}

\score {
<<
 \transpose c e \new Staff {
\key c \minor
\new Voice {\relative c' \myMusic }
}
>>
\layout {}
}



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Re: Appending coda on last line

2013-12-21 Thread Thomas Morley

2013/12/21 Helge Kruse :
> Thomas Morley  googlemail.com> writes:
>
>> some time ago I wrote the snippet below. It's a little bit hackish and
>> would need some redesign/improvement for which I currently do not have
>> the time.
>> But for now it should work.
>>
>
> Thomas, this is a long time ago. But I just need something similar now, only
> with a little change. Now I have a SATB+piano score where I would need two
> things
>
> - all staves should be connected by a vertical line.
> - the SATB should get a bracket instead a brace.
>
> where the first would be nice but not really necessary.
>
> I tried to extend your snippet with a new definition for bracketBar as a copy
> of your braceBar. I replaced all brace with bracket, hoping Lilypond will know
> this. But Lilypond complains
>   "Unbound variable: make-left-bracket-markup"
>
> Where did you get make-left-brace-markup from?
> Could you extend your snippet for a usage as described?
>
> Best Regards
> Helge



Hi Helge,

which version do you use?
Could you provide a minimal exmple of your score-setup?
I.e.:

\score {
???
}

I'll try to have a look then.
  Harm

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Re: SostenutoPedalLineSpanner and texts

2013-12-21 Thread Simon Bailey

On 20 Dec 2013, at 22:55, David Nalesnik  wrote:
> 
> Oops, mistakenly sent this only to the OP...

once again, thanks, David! this is perfect. :)

regards,
sb

<>
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Fwd: emacs point-and-click on OSX

2013-12-21 Thread Vaughan McAlley

On 21 December 2013 23:57, David Kastrup  wrote:

> Kevin Patrick Barry  writes:
>
> >> Once Mac Ports is installed, the following:
> >>
> >> sudo port install xpdf
> >>
> >> does install xpdf and all necessary stuff.
> >
> > Thanks for this. I am getting closer, but still no cigar.  Xpdf is
> > working, and it is, I think, calling the lilypond-invoke-editor script
> > correctly when I click on a note in a pdf generated by lilypond, but I
> > get the following error:
> > "/home/gub/gub/target/tools/root/usr/bin/guile: bad interpreter: No
> > such file or directory"
> >
> > I assume it needs this guile to run and can't find it, so I changed
> > the file to point to one I found in the LilyPond.app
> > (/Applications/LilyPond.app/Contents/Resources/bin/guile), and now I
> > get another error when I try to click on a link:
> > ERROR: In procedure dynamic-link:
> > ERROR: file: "libguile-srfi-srfi-1-v-3", message: "file not found"
> >
> > Since there is no libguile-srfi-srfi-1-v-3 I'm not sure what to do
> > next.  The only guile I found on the computer was the one installed in
> > LilyPond. Finder doesn't really seem to be able to see what's going on
> > in macports - maybe I should have pointed the lilypond-invoke-editor
> > script in that direction? There are folders called guile and guile16,
> > but no file called guile in either of them.
> >
> > Damnit Jim I'm a musician not a magician!
>
> lilypond-invoke-editor seemingly is a GUILE script, so it needs a
> working GUILE interpreter.  It would appear that the installation of
> GUILE you pointed it to is not really working.  Again, I'm somewhat at a
> loss to figure out how to fix this on MacOSX.  It would appear that the
> installation is not done correctly: that would point to a GUB problem
> (our installer).
>

(Oops, replied only to David...)

Guile hasn’t been installed on my Mac (except as part of Lilypond). That
is, the command guile didn’t work. I tried sudo port install guile, and it
put a binary of version 1.8.8 in /opt/local/bin. Perhaps try that out.

Vaughan
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Re: emacs point-and-click on OSX

2013-12-21 Thread David Kastrup

Kevin Patrick Barry  writes:

>> Once Mac Ports is installed, the following:
>>
>> sudo port install xpdf
>>
>> does install xpdf and all necessary stuff.
>
> Thanks for this. I am getting closer, but still no cigar.  Xpdf is
> working, and it is, I think, calling the lilypond-invoke-editor script
> correctly when I click on a note in a pdf generated by lilypond, but I
> get the following error:
> "/home/gub/gub/target/tools/root/usr/bin/guile: bad interpreter: No
> such file or directory"
>
> I assume it needs this guile to run and can't find it, so I changed
> the file to point to one I found in the LilyPond.app
> (/Applications/LilyPond.app/Contents/Resources/bin/guile), and now I
> get another error when I try to click on a link:
> ERROR: In procedure dynamic-link:
> ERROR: file: "libguile-srfi-srfi-1-v-3", message: "file not found"
>
> Since there is no libguile-srfi-srfi-1-v-3 I'm not sure what to do
> next.  The only guile I found on the computer was the one installed in
> LilyPond. Finder doesn't really seem to be able to see what's going on
> in macports - maybe I should have pointed the lilypond-invoke-editor
> script in that direction? There are folders called guile and guile16,
> but no file called guile in either of them.
>
> Damnit Jim I'm a musician not a magician!

lilypond-invoke-editor seemingly is a GUILE script, so it needs a
working GUILE interpreter.  It would appear that the installation of
GUILE you pointed it to is not really working.  Again, I'm somewhat at a
loss to figure out how to fix this on MacOSX.  It would appear that the
installation is not done correctly: that would point to a GUB problem
(our installer).

-- 
David Kastrup

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Re: Guitar-Schubert

2013-12-21 Thread bart deruyter

Wow,

nice, thank you very much indeed.

grtz,

Bart

http://www.bartart3d.be/
On facebook 
On Twitter 
On Identi.ca 
On Google+ 


2013/12/21 Mario Moles 

>  Schubert for guitar ansemble!
>
> http://mariomoles.altervista.org/schubert/
>
>
> --
>
> oiram/bin/selom
>
> Da ognuno secondo le proprie capacità ad ognuno secondo i propri bisogni.
>
> MIB-kernellinux-tester
>
> http://mariomoles.altervista.org/
>
> Linux 
>
> MIB  Lilypond 
> Frescobaldi  
> Rosegarden
>
> ___
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>
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Re: Guitar-Schubert

2013-12-21 Thread Federico Bruni

2013/12/21 Mario Moles 

>  Schubert for guitar ansemble!
>
> http://mariomoles.altervista.org/schubert/
>
>
>
Thanks for sharing!
I'll propose it to my guitar ensemble.

Why don't you add it to Mutopia? I see that the license you chose is
compliant with mutopia policy.
http://www.mutopiaproject.org/contribute.html

PS The PDFs uploaded to your website have point and click
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Guitar-Schubert

2013-12-21 Thread Mario Moles

Schubert for guitar ansemble!
http://mariomoles.altervista.org/schubert/


oiram/bin/selom
Da ognuno secondo le proprie capacità ad ognuno secondo i propri bisogni.
MIB-kernellinux-tester
http://mariomoles.altervista.org/[1]
Linux[2] 
MIB[3] Lilypond[4] Frescobaldi[5] Rosegarden[6] 


[1] http://mariomoles.altervista.org/inno-comoenius/
[2] https://www.kernel.org/
[3] http://mib.pianetalinux.org/blog/
[4] http://lilypond.org/
[5] http://www.frescobaldi.org/
[6] http://www.rosegardenmusic.com
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Re: Appending coda on last line

2013-12-21 Thread David Kastrup

Helge Kruse  writes:

> Thomas Morley  googlemail.com> writes:
>
>> some time ago I wrote the snippet below. It's a little bit hackish and
>> would need some redesign/improvement for which I currently do not have
>> the time.
>> But for now it should work.
>> 
>
> Thomas, this is a long time ago. But I just need something similar now, only 
> with a little change. Now I have a SATB+piano score where I would need two 
> things
>
> - all staves should be connected by a vertical line.
> - the SATB should get a bracket instead a brace.
>
> where the first would be nice but not really necessary.
>
> I tried to extend your snippet with a new definition for bracketBar as a copy 
> of your braceBar. I replaced all brace with bracket, hoping Lilypond will 
> know 
> this. But Lilypond complains 
>   "Unbound variable: make-left-bracket-markup"
>
> Where did you get make-left-brace-markup from?

That would be one of the functions generated from
#(define-markup-command (left-brace layout props ...

-- 
David Kastrup

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Re: smallCaps and accented letters

2013-12-21 Thread Pierre Perol-Schneider

2013/12/20 Yann 

>
> Hello everybody :)
>
> I noticed in a score that I've recently typeset that smallCaps doesn't
> support accented characters (which is indeed written in the manual).
>
> Is there a plan to extend smallCaps to support accented letters in future
> versions ?
> For now, is there a workaround ?
>

Hi Yann,

Here's the code I use for years.
As far as I remember, the original code was made by Nicolas Sceaux but it's
pretty old now and I could be wrong.

%% Snippet 
\version "2.17.95"

#(use-modules (ice-9 regex))

#(define-public string-upper-case #f)

#(define accented-char-upper-case? #f)

#(define accented-char-lower-case? #f)

#(let ((lower-case-accented-string
"áàâäǎăāãåąæǣćĉčçďđðéèêëěĕēęəĝğģĥħíìîïǐĭīĩįĵķĺŀľļłńňñóòôöǒŏōõǫőøœŕřśŝšşťţþúùûüǔŭūųǘǜǚŵýŷÿȳźž")


(upper-case-accented-string
"ÁÀÂÄǍĂĀÃÅĄÆǢĆĈČÇĎĐÐÉÈÊËĚĔĒĘƏĜĞĢĤĦÍÌÎÏǏĬĪĨĮĴĶĹĿĽĻŁŃŇÑÓÒÔÖǑŎŌÕǪŐØŒŔŘŚŜŠŞŤŢÞÚÙÛÜǓŬŪŲǗǛǙŴÝŶŸȲŹŽ"))


(define (group-by-2 chars result)

(if (or (null? chars) (null? (cdr chars)))

(reverse! result)

(group-by-2 (cddr chars)

(cons (string (car chars) (cadr chars))

result

(let ((lower-case-accented-chars

(group-by-2 (string->list lower-case-accented-string) (list)))

(upper-case-accented-chars

(group-by-2 (string->list upper-case-accented-string) (list

(set! string-upper-case

(lambda (str)

(define (replace-chars str froms tos)

(if (null? froms)

str

(replace-chars (regexp-substitute/global #f (car froms) str

'pre (car tos) 'post)

(cdr froms)

(cdr tos

(string-upcase (replace-chars str

lower-case-accented-chars

upper-case-accented-chars

(set! accented-char-upper-case?

(lambda (char1 char2)

(member (string char1 char2) upper-case-accented-chars string=?)))

(set! accented-char-lower-case?

(lambda (char1 char2)

(member (string char1 char2) lower-case-accented-chars string=?)

#(define-markup-command (smallCaps layout props text) (markup?)

(define (string-list->markup strings lower)

(let ((final-string (string-upper-case

(apply string-append (reverse strings)

(if lower

(markup #:fontsize -2 final-string)

final-string)))

(define (make-small-caps rest-chars currents current-is-lower prev-result)

(if (null? rest-chars)

(make-concat-markup (reverse! (cons (string-list->markup

currents current-is-lower)

prev-result)))

(let* ((ch1 (car rest-chars))

(ch2 (and (not (null? (cdr rest-chars))) (cadr rest-chars)))

(this-char-string (string ch1))

(is-lower (char-lower-case? ch1))

(next-rest-chars (cdr rest-chars)))

(cond ((and ch2 (accented-char-lower-case? ch1 ch2))

(set! this-char-string (string ch1 ch2))

(set! is-lower #t)

(set! next-rest-chars (cddr rest-chars)))

((and ch2 (accented-char-upper-case? ch1 ch2))

(set! this-char-string (string ch1 ch2))

(set! is-lower #f)

(set! next-rest-chars (cddr rest-chars

(if (or (and current-is-lower is-lower)

(and (not current-is-lower) (not is-lower)))

(make-small-caps next-rest-chars

(cons this-char-string currents)

is-lower

prev-result)

(make-small-caps next-rest-chars

(list this-char-string)

is-lower

(if (null? currents)

prev-result

(cons (string-list->markup

currents current-is-lower)

prev-result)))

(interpret-markup layout props

(if (string? text)

(make-small-caps (string->list text) (list) #f (list))

text)))


% % Examples 

\markup \smallCaps "A a Á á À à Â â Ä ä Ǎ ǎ Ă ă Ā ā Ã ã Å å Ą ą Æ æ Ǣ ǣ"

\markup \smallCaps "B b"

\markup \smallCaps "C c Ć ć Ĉ ĉ Č č Ç ç"

\markup \smallCaps "D d Ď ď Đ đ Ð ð"

\markup \smallCaps "E e É é È è Ê ê Ë ë Ě ě Ĕ ĕ Ē ē Ę ę Ə ə"

\markup \smallCaps "F f"

\markup \smallCaps "G g Ĝ ĝ Ğ ğ Ģ ģ"

\markup \smallCaps "H h Ĥ ĥ Ħ ħ"

\markup \smallCaps "I i Í í Ì ì Î î Ï ï Ǐ ǐ Ĭ ĭ Ī ī Ĩ ĩ Į į"

\markup \smallCaps "J j Ĵ ĵ"

\markup \smallCaps "K k Ķ ķ"

\markup \smallCaps "L l Ĺ ĺ Ŀ ŀ Ľ ľ Ł ł"

\markup \smallCaps "M m"

\markup \smallCaps "N n Ń ń Ň ň Ñ ñ"

\markup \smallCaps "O o Ó ó Ò ò Ô ô Ö ö Ǒ ǒ Ŏ ŏ Ō ō Õ õ Ǫ ǫ Ő ő Ø ø Œ œ"

\markup \smallCaps "P p"

\markup \smallCaps "Q q"

\markup \smallCaps "R r Ŕ ŕ Ř ř"

\markup \smallCaps "S s Ś ś Ŝ ŝ Š š Ş ş ß"

\markup \smallCaps "T t Ť ť Ţ ţ Þ þ"

\markup \smallCaps "U u Ú ú Ù ù Û û Ü ü Ǔ ǔ Ŭ ŭ Ū ū Ų ų Ǘ ǘ Ǜ ǜ Ǚ ǚ"

\markup \smallCaps "V v"

\markup \smallCaps "W w Ŵ ŵ"

\markup \smallCaps "X x"

\markup \smallCaps "Y y Ý ý Ŷ ŷ Ÿ ÿ Ȳ ȳ"

\markup \smallCaps "Z z Ź ź Ž ž"

%%%


Cheers,

Pierre
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Re: musicxml2ly bug: Fails on empty node

2013-12-21 Thread Urs Liska


Am 21.12.2013 10:56, schrieb pls:

These files are not minimal examples and contain loads of faulty xml
markup.  I attached a tiny example to show that musicxml2ly-dev (but not
musicxml2ly) can handle empty work-title nodes.



What would be the necessary approach to port your -dev work back to main 
LilyPond's musicxml2ly?


Urs

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Re: musicxml2ly bug: Fails on empty node

2013-12-21 Thread pls

On 21.12.2013, at 09:14, James Harkins  wrote:In case anybody is working on musicxml2ly:I just found that it doesn't handle the case of an XML document where the title node exists, but is empty. I've uploaded a zip archive of two musicxml documents.Hi James,we fixed this bug some time ago. See: https://github.com/Philomelos/lilypond-musicxml2ly-dev.http://ubuntuone.com/0iNRBh17UxPJWlVJikFYVD** 13-1220-li-xuanyi.xml -- The original file from my student, exported from Sibelius on Mac.$ musicxml2ly 13-1220-li-xuanyi.xml musicxml2ly: Reading MusicXML from 13-1220-li-xuanyi.xml ...Traceback (most recent call last): File "/usr/local/lilypond/usr/bin/musicxml2ly", line 2984, in ?   main() File "/usr/local/lilypond/usr/bin/musicxml2ly", line 2979, in main   voices = convert (filename, options) File "/usr/local/lilypond/usr/bin/musicxml2ly", line 2881, in convert   score_information = extract_score_information (tree) File "/usr/local/lilypond/usr/bin/musicxml2ly", line 201, in extract_score_information   set_if_exists ('title', movement_title.get_text ())AttributeError: 'NoneType' object has no attribute 'get_text'** 13-1220-li-xuanyi-finale.xml -- Another version, made by importing the original into Finale 2010 and re-exporting to musicxml. This one is fine in musicxml2ly, producing a LilyPond file that compiles successfully (apart from LilyPond complaining about all the collisions that Finale generated…).LilyPond cannot complain "about all the collisions that Finale generated" because they are not translated.  musicxml2ly complains about errors in the xml-file, e.g.:warning: Cannot have two simultaneous slurswarning: Encountered closing slur, but no slur is openmusicxml2ly-dev shows that your file contains some more faults:x2l: warning: Negative skip -41/4 (from position 163/8 to 81/8)x2l: warning: Negative skip -3/4 (from position 87/8 to 81/8)x2l: warning: Negative skip -3/4 (from position 87/8 to 81/8)x2l: warning: Negative skip -3/4 (from position 87/8 to 81/8)x2l: warning: Negative skip -41/4 (from position 163/8 to 81/8)x2l: warning: Negative skip -41/4 (from position 41/2 to 41/4)x2l: warning: Negative skip -5/8 (from position 87/8 to 41/4)x2l: warning: Negative skip -5/8 (from position 87/8 to 41/4)x2l: warning: Negative skip -5/8 (from position 87/8 to 41/4)x2l: warning: Negative skip -41/4 (from position 41/2 to 41/4)x2l: warning: Negative skip -41/4 (from position 165/8 to 83/8)x2l: warning: Negative skip -1/2 (from position 87/8 to 83/8)x2l: warning: Negative skip -1/2 (from position 87/8 to 83/8)x2l: warning: Negative skip -1/2 (from position 87/8 to 83/8)x2l: warning: Negative skip -41/4 (from position 165/8 to 83/8)x2l: warning: Negative skip -41/4 (from position 83/4 to 21/2)x2l: warning: Negative skip -3/8 (from position 87/8 to 21/2)x2l: warning: Negative skip -3/8 (from position 87/8 to 21/2)x2l: warning: Negative skip -3/8 (from position 87/8 to 21/2)x2l: warning: Negative skip -41/4 (from position 83/4 to 21/2)x2l: warning: Negative skip -41/4 (from position 167/8 to 85/8)x2l: warning: Negative skip -1/4 (from position 87/8 to 85/8)x2l: warning: Negative skip -1/4 (from position 87/8 to 85/8)x2l: warning: Negative skip -1/4 (from position 87/8 to 85/8)x2l: warning: Negative skip -41/4 (from position 167/8 to 85/8)x2l: warning: Negative skip -41/4 (from position 21 to 43/4)x2l: warning: Negative skip -1/8 (from position 87/8 to 43/4)x2l: warning: Negative skip -1/8 (from position 87/8 to 43/4)x2l: warning: Negative skip -1/8 (from position 87/8 to 43/4)x2l: warning: Negative skip -41/4 (from position 21 to 43/4)x2l: warning: Negative skip -41/4 (from position 169/8 to 87/8)x2l: warning: Negative skip -41/4 (from position 169/8 to 87/8)x2l: warning: Negative skip -41/4 (from position 85/4 to 11)x2l: warning: Negative skip -41/4 (from position 85/4 to 11)This usually means that measures are incomplete.  Sibelius' xml-export is bad.  Importing and exporting the file with Finale doesn't help here.A notable difference is that the one from Sibelius includes the following, but Finale omits it. If I remove those lines, then musicxml2ly gets past this error... only to fail later. So this document (the original) might be a good test case for musicxml2ly's error recovery.These files are not minimal examples and contain loads of faulty xml markup.  I attached a tiny example to show that musicxml2ly-dev (but not musicxml2ly) can handle empty work-title nodes.hthpatrick

MovementTitle-NoTitle.xml
Description: XML document
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Re: Odp: hotrizontal spacing question

2013-12-21 Thread Karol Majewski

Unfortunately "uniform-stretching" doesn't work here.




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Re: Appending coda on last line

2013-12-21 Thread Helge Kruse

Thomas Morley  googlemail.com> writes:

> some time ago I wrote the snippet below. It's a little bit hackish and
> would need some redesign/improvement for which I currently do not have
> the time.
> But for now it should work.
> 

Thomas, this is a long time ago. But I just need something similar now, only 
with a little change. Now I have a SATB+piano score where I would need two 
things

- all staves should be connected by a vertical line.
- the SATB should get a bracket instead a brace.

where the first would be nice but not really necessary.

I tried to extend your snippet with a new definition for bracketBar as a copy 
of your braceBar. I replaced all brace with bracket, hoping Lilypond will know 
this. But Lilypond complains 
  "Unbound variable: make-left-bracket-markup"

Where did you get make-left-brace-markup from?
Could you extend your snippet for a usage as described?

Best Regards
Helge

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musicxml2ly bug: Fails on empty node

2013-12-21 Thread James Harkins


In case anybody is working on musicxml2ly:

I just found that it doesn't handle the case of an XML document where the 
title node exists, but is empty. I've uploaded a zip archive of two 
musicxml documents.


http://ubuntuone.com/0iNRBh17UxPJWlVJikFYVD

** 13-1220-li-xuanyi.xml -- The original file from my student, exported 
from Sibelius on Mac.


$ musicxml2ly 13-1220-li-xuanyi.xml 
musicxml2ly: Reading MusicXML from 13-1220-li-xuanyi.xml ...

Traceback (most recent call last):
 File "/usr/local/lilypond/usr/bin/musicxml2ly", line 2984, in ?
   main()
 File "/usr/local/lilypond/usr/bin/musicxml2ly", line 2979, in main
   voices = convert (filename, options)
 File "/usr/local/lilypond/usr/bin/musicxml2ly", line 2881, in convert
   score_information = extract_score_information (tree)
 File "/usr/local/lilypond/usr/bin/musicxml2ly", line 201, in 
extract_score_information

   set_if_exists ('title', movement_title.get_text ())
AttributeError: 'NoneType' object has no attribute 'get_text'

** 13-1220-li-xuanyi-finale.xml -- Another version, made by importing the 
original into Finale 2010 and re-exporting to musicxml. This one is fine in 
musicxml2ly, producing a LilyPond file that compiles successfully (apart 
from LilyPond complaining about all the collisions that Finale 
generated...).


A notable difference is that the one from Sibelius includes the following, 
but Finale omits it.



 


If I remove those lines, then musicxml2ly gets past this error... only to 
fail later. So this document (the original) might be a good test case for 
musicxml2ly's error recovery.


I'm on 2.16.2.

Thanks,
hjh

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