Re: lilypond and eps

[Marcel Korpel]

On 29/01/07, Mats Bengtsson <[EMAIL PROTECTED]> wrote:

In Linux, my best guess is that you should try a newer version of
Ghostscript
(if you can choose between an AFPL and a GNU version, you should pick the
AFPL one, since they normally include more recent features).


One minor detail: as of June 2006, this is no longer the case.
Starting with version 8.54, the former AFPL version is now released
under GPL. [1]

In fact, the version called GNU Ghostscript is now ahead of the GPL
version. For a list of features, see [2].

Kind regards,
Marcel

[1] http://www.advogato.org/person/raph/diary.html?start=411
[2] http://savannah.gnu.org/forum/forum.php?forum_id=4645


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Dashed bar lines

[Marcel Korpel]

Hello all,

Because I am transcribing renaissance music I am looking for a method
to draw dashed bar lines. In this case, it is not appropiate to draw
bar lines between staves, because that would clash with the lyrics
and, moreover, I use different time signatures for different staves.

I am aware of the possibility of drawing dotted bar lines (using
Timing.defaultBarType = ":"), but those dots are a bit too large for
this purpose (a bit nitpicking, I know).

Thanks in advance.

Kind regards,
Marcel


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Re: Dashed bar lines

[Mats Bengtsson]

If you want smaller dots, you can set
\override Staff.BarLine #'font-size = #-3
or whatever size looks good to you.

  /Mats

Marcel Korpel wrote:

Hello all,

Because I am transcribing renaissance music I am looking for a method
to draw dashed bar lines. In this case, it is not appropiate to draw
bar lines between staves, because that would clash with the lyrics
and, moreover, I use different time signatures for different staves.

I am aware of the possibility of drawing dotted bar lines (using
Timing.defaultBarType = ":"), but those dots are a bit too large for
this purpose (a bit nitpicking, I know).

Thanks in advance.

Kind regards,
Marcel


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=
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Signal Processing
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Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Lyrics Problem

[9-bert]

Hello!

I got a problem adding lyrics to a piece for four brass instruments.
Although I already searched the net and some forums I didn't get any
furhter, but I hope you can help me.

That's what I've got:
...
\new PianoStaff <<
\new Staff {
\clef treble \key f \major
<< \trumpetone \\ \trumpettwo >>
}
\new Staff {
\clef bass \key f \major
<< \tromboneone \\ \trombonetwo >>
} 
>>

So far that's ok, the notes are printed exactly as I want them to be. Now I
want to add lyrics above the staffs. The lyrics belong to the first trumpet
(/trumpetone). I tried something with /addlyrics but that does not work in
polyphony and /lyricsto but I only got errors or weired output.
I hope you can give me a hint how to handle this. 

Thank you!
Robert
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View this message in context: 
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automatic bar marks possible for ie, 28/4 ?

[Adam Good]

Hi Everyone,

For a piece that has a time signature of 28/4 is it possible to set 
lilypond to have barlines dropped in automatically?


for example the piece is in 24/8 but the grouping would be 6+4+4 + 6+4+4

so, after 6 beats, a barline, then after 4 beats a barline, after 
another 4 a barline, etc.


saves me from having to manually drop in the barlines.

thanks!

Adam Good



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Re: automatic bar marks possible for ie, 28/4 ?

[Bertalan Fodor]

You can use something like the method written in the Line breaking 
section of the manual.

\new Staff { <<
\new Voice { \repeat unfold 10 { \time 6/4 s4*6  \time 4/4 s1 s1 } }
\new Voice { \relative { c4 d e f g a c b a g c d e f} }
>>

Bert



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Re: automatic bar marks possible for ie, 28/4 ?

[Mats Bengtsson]

Or (if you don't want the changing time signatures, just the additional 
bar lines):

\new Staff { <<
\new Voice { \repeat unfold 10 { s4*6  \bar ":" s1 \bar ":" s1 } }
\new Voice { \relative { \time 28/4 c4 d e f g a c b a g c d e f} }
>>

  /Mats

Bertalan Fodor wrote:
You can use something like the method written in the Line breaking 
section of the manual.

\new Staff { <<
\new Voice { \repeat unfold 10 { \time 6/4 s4*6  \time 4/4 s1 s1 } }
\new Voice { \relative { c4 d e f g a c b a g c d e f} }
>>

Bert



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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: Dashed bar lines

[Trevor Bača]

On 1/30/07, Marcel Korpel <[EMAIL PROTECTED]> wrote:

Hello all,

Because I am transcribing renaissance music I am looking for a method
to draw dashed bar lines. In this case, it is not appropiate to draw
bar lines between staves, because that would clash with the lyrics
and, moreover, I use different time signatures for different staves.

I am aware of the possibility of drawing dotted bar lines (using
Timing.defaultBarType = ":"), but those dots are a bit too large for
this purpose (a bit nitpicking, I know).



The 2.10 NEWS file gives an example of dashed (rather than dotted) barlines:

 http://lilypond.org/doc/v2.10/Documentation/topdocs/NEWS.html

Barlines between staves are printed (or not) as SpanBar grobs.
Overriding SpanBar #'transparet = ##t might help.


--
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[EMAIL PROTECTED]
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Re: automatic bar marks possible for ie, 28/4 ?

[Hans Aberg]

On 30 Jan 2007, at 13:08, Adam Good wrote:

For a piece that has a time signature of 28/4 is it possible to set  
lilypond to have barlines dropped in automatically?


for example the piece is in 24/8 but the grouping would be 6+4+4 + 6 
+4+4


so, after 6 beats, a barline, then after 4 beats a barline, after  
another 4 a barline, etc.


saves me from having to manually drop in the barlines.


Though one often is sloppy in Western music with meters, there is a  
difference in subaccenting between a piece that alternates between 6  
& 4 time say in the repeated pattern 6, 4, 4, and the meter 6+4+4.  
Which subaccenting do you want?


  Hans Aberg




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TupletBracket behaviour

[Vivian Barty-Taylor]

When the size of a TupletBracket gets too small, it disappears leaving just the 
TupletNumber. While I can see that this might be attractive in some 
circumstances I would like to switch it off (so the TupletBracket always 
prints.) Is there a way to do this? At the moment, I'm putting small increases 
in horizontal spacing into my score each time this happens, but this is very 
fiddly. There must be a neater way.

I've searched through the properties for TupletBracket but am honestly a bit 
lost.

Many thanks,
Vivian.





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Re: Lyrics Problem

[Eduardo Vieira]

Citando 9-bert <[EMAIL PROTECTED]>:

>
> Hello!
>
> I got a problem adding lyrics to a piece for four brass instruments.
> Although I already searched the net and some forums I didn't get any
> furhter, but I hope you can help me.
>
> That's what I've got:
> ...
> \new PianoStaff <<
>   \new Staff {
>   \clef treble \key f \major
>   << \trumpetone \\ \trumpettwo >>
>   }
>   \new Staff {
>   \clef bass \key f \major
>   << \tromboneone \\ \trombonetwo >>
>   }
> >>
>
> So far that's ok, the notes are printed exactly as I want them to be. Now I
> want to add lyrics above the staffs. The lyrics belong to the first trumpet
> (/trumpetone). I tried something with /addlyrics but that does not work in
> polyphony and /lyricsto but I only got errors or weired output.
> I hope you can give me a hint how to handle this.
>
>
Possibly the variable \trupetone contains constructs like this: << \\ >>
If you substitute those with << \new Voice {\voiceOne  } \new Voice {\voiceTwo }
>> it may solve your problem.
Remember that lyricsto needs to find a voice for the lyrics, as well.
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Re: Lyrics Problem

[Eduardo Vieira]

Citando 9-bert <[EMAIL PROTECTED]>:

>
> Hello!
>
> I got a problem adding lyrics to a piece for four brass instruments.
> Although I already searched the net and some forums I didn't get any
> furhter, but I hope you can help me.
>
> That's what I've got:
> ...
> \new PianoStaff <<
>   \new Staff {
>   \clef treble \key f \major
>   << \trumpetone \\ \trumpettwo >>
>   }
>   \new Staff {
>   \clef bass \key f \major
>   << \tromboneone \\ \trombonetwo >>
>   }
> >>
>
> So far that's ok, the notes are printed exactly as I want them to be. Now I
> want to add lyrics above the staffs. The lyrics belong to the first trumpet
> (/trumpetone). I tried something with /addlyrics but that does not work in
> polyphony and /lyricsto but I only got errors or weired output.
> I hope you can give me a hint how to handle this.
>
>
Possibly the variable \trupetone contains constructs like this: << \\ >>
If you substitute those with << \new Voice {\voiceOne  } \new Voice {\voiceTwo }
>> it may solve your problem.
Remember that lyricsto needs to find a voice for the lyrics, as well.
___
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Complete alist for line-break-system-details?

[Trevor Bača]

Hi,

The line-break-system-details property of the NonMusicalPaperColumn
grob is an alist with a bunch of useful values for vertical spacing.

Is there a list somewhere of the complete set of values that may be
overriden in line-break-system-details?

Here are the five line-break-system-details properties I've been able
to track down so far:

* alignment-extra-space
* fixed-alignment-extra-space
* alignment-offsets
* Y-offset
* X-offset

Are there others?


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Re: TupletBracket behaviour

[Mats Bengtsson]

I've never seen this happen and I couldn't construct an
example myself where it happened. I hope you are aware
of the fact that no tuplet bracket is printed by default if
there's a beam of the same length, but from your description
it seems fairly clear that this is not the problem here.

If you can make up a small example that illustrates the problem,
it will be much easier to figure out a solution. There is a property
minimum-length that's listed if you click on the spanner-interface
link but it doesn't seem to work for TupletBracket objects.

  /Mats

Vivian Barty-Taylor wrote:

When the size of a TupletBracket gets too small, it disappears leaving 
just the TupletNumber. While I can see that this might be attractive 
in some circumstances I would like to switch it off (so the 
TupletBracket always prints.) Is there a way to do this? At the 
moment, I'm putting small increases in horizontal spacing into my 
score each time this happens, but this is very fiddly. There must be a 
neater way.


I've searched through the properties for TupletBracket but am honestly 
a bit lost.


Many thanks,
Vivian.


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Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: Controlling vertical spacing exactly - mini HOWTO

[Trevor Bača]

On 1/17/07, Maximilian Albert <[EMAIL PROTECTED]> wrote:

Hi Trevor, hi everyone,

> The following might be of interest to folks using proportional
> notation. If there's any general interest (of if Graham wants it to be
> so) then I'll retype the following as an addition to 11.3.4
> "Controlling spacing of individual systems".

Awesome!! This is exactly what I thought might be of use to many people.
I only recently discovered the "alignment-offsets" property somewhere in
the regression tests and found it to be of great use. For some reason I
missed "Y-extent", though, and am more than happy to learn about it from
your email because it provides precisely the functionality I felt was
missing. I am sure it would be of great value to have it in the docs and
strongly encourage you to retype and include it. One suggestion, though:
I thing using _different_ values of "Y-offset"/"alignment-offsets" for
different staves better emphasizes the effect it has on the output.


Another thing which I think should not go unmentioned because it drove
me nearly mad and which I considered a bug until I found out the correct
behaviour: If you have lyrics with the music then the lyrics lines
behave like staves of their own with respect to alignment-offsets. For
example if you have an upper and a lower staff, each with lyrics beneath
them, then the four numbers in alignment-offsets control the vertical
position of the first staff, the first lyrics line, the second staff and
the second lyrics line, respectively (by the way, is there a
setting/property which controls the distance of lyrics and the
corresponding staff? I found it to require a certain amount of tweaking
to get the "correct" distance from lyrics to staff when manually setting
alignment-offsets; it would be nice to at least know some default
distance). Here is a small code example illustrating the aforementioned
behaviour.


%% Example of alignment-offsets with lyrics
%\version "2.11.10"  % on Debian Linux
\paper{ ragged-right = ##t }

<<
{ \overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details
#'((alignment-offsets . (0 -10 -30 -65)))
  c'1
}
\addlyrics { one }

{ e'1 }
\addlyrics { two }
>>


Hi Max,

I'm finally getting around to retyping the line-break-system-details
examples and I was just revisiting your mail. Your comment here ...


Another thing which I think should not go unmentioned because it drove
me nearly mad and which I considered a bug until I found out the correct
behaviour: If you have lyrics with the music then the lyrics lines
behave like staves of their own with respect to alignment-offsets.


... made me investigate the behavior of alignment-offsets against
nested contexts like StaffGroup and the special context PianoStaff.
Here are the examples.


%%% EX 3 with StaffGroup %%%

\version "2.11.14"

\layout { indent = #0 }

\new Score <<
 \new Staff <<
\new Voice {
   \overrideProperty #"Score.NonMusicalPaperColumn"
   #'line-break-system-details #'((Y-offset . 0)
(alignment-offsets . (0 -30 -40)))
   s1 * 6 \break
   \overrideProperty #"Score.NonMusicalPaperColumn"
   #'line-break-system-details #'((Y-offset . 60)
(alignment-offsets . (0 -10 -20)))
   s1 * 6 \break
   \overrideProperty #"Score.NonMusicalPaperColumn"
   #'line-break-system-details #'((Y-offset . 100)
(alignment-offsets . (0 -10, -40)))
   s1 * 6 \break
}
\new Voice { \repeat unfold 18 { c'4 c'4 c'4 c'4 } }
 >>
 \new StaffGroup <<
\new Staff {
   \repeat unfold 18 { d'4 d'4 d'4 d'4 }
}
\new Staff {
   \repeat unfold 18 { e'4 e'4 e'4 e'4 }
}
 >>




%%% END EX 3 %%%


And here's the exact same example with only the word "StaffGroup"
changed to "PianoStaff"; quite a difference:

%%% BEGIN EX 4 with PianoStaff %%%

\version "2.11.14"

\layout { indent = #0 }

\new Score <<
 \new Staff <<
\new Voice {
   \overrideProperty #"Score.NonMusicalPaperColumn"
   #'line-break-system-details #'((Y-offset . 0)
(alignment-offsets . (0 -30 -40)))
   s1 * 6 \break
   \overrideProperty #"Score.NonMusicalPaperColumn"
   #'line-break-system-details #'((Y-offset . 60)
(alignment-offsets . (0 -10 -20)))
   s1 * 6 \break
   \overrideProperty #"Score.NonMusicalPaperColumn"
   #'line-break-system-details #'((Y-offset . 100)
(alignment-offsets . (0 -10, -40)))
   s1 * 6 \break
}
\new Voice { \repeat unfold 18 { c'4 c'4 c'4 c'4 } }
 >>
 \new PianoStaff <<
\new Staff {
   \repeat unfold 18 { d'4 d'4 d'4 d'4 }
}
\new Staff {
   \repeat unfold 18 { e'4 e'4 e'4 e'4 }
}
 >>




%%% END EX 4 %%%


So my conclusion is that alignment-offsets works against ...

* staves (which is clear)
* lyrics (as you point out)
* the individual staves inside StaffGroup (which makes sense)

... but NOT against the individual staves inside PianoStaff (which
makes sense because it's well-documented in 11.3.2 that PianoStaff is
spe

Re: Controlling vertical spacing exactly - mini HOWTO

[Trevor Bača]

On 1/18/07, Graham Percival <[EMAIL PROTECTED]> wrote:

Trevor Bača wrote:
> The following might be of interest to folks using proportional
> notation. If there's any general interest (of if Graham wants it to be
> so) then I'll retype the following as an addition to 11.3.4
> "Controlling spacing of individual systems".

Definitely.  I don't think you need to make many changes; I'd get rid of
the capital-letter sections at the end, though.  Or integrate that
material into the rest of stuff.

In the future, it's safest if you cc'd potential doc stuff to the -devel
list, since I don't read -user in any great detail these days.


Hi Graham & Max (and everyone),

I've been reading through chapter 11 on vertical spacing and getting
some vertical spacing examples ready for the manual.

And on reflection I think I've now figured out why it's been tricky
for me to get a good conceptual handle on vertical spacing. So I'd
like to bounce two ideas off of you guys and see if the way that I'm
thinking about the problem makes sense.

1. First, it seems that there are two *different* models for
controlling vertical spacing, which we might term "permissive" and
"strict", respectively. The first model corresponds roughly to chapers
11.3.1 and 11.3.3, and concerns overrides to VerticalAxisGroup and
settings in the paper block like

 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)

 \paper {
between-system-space = 1.5\cm
between-system-padding = #1
ragged-bottom=##f
ragged-last-bottom=##f
 }

My analysis of this type of vertical spacing control is that what
we're really doing here is mostly setting *padding* in different
guises. We're not really saying "this staff should be so far away from
this other staff; and then this system should be so far away from this
other system further down the page". Instead we're saying "I want at
least this much padding between these staves or between these systems;
beyond those padding specifications, just let Lily figure out what to
do." So we might term this padding-based way of thinking about
vertical spacing something like "permissive". And an interesting
characteristic of this way of tweaking vertical spacing is that -- I
think -- you can *not* cause staves or systems to *overlap*. And this
relates to the primary disadvantage of using VerticalAxisGroup
overrides (and paper and margin adjustments) to control vertical
spacing: it can sometimes seem frustratingly difficult to draw staves
or systems close enough together.[1]

[1] Feel free to contradict me here; Is it possible to cause staff- or
system-overlaps using the commands given in 11.1 and 11.3? And maybe I
was alone in my experience of feeling frustrated trying to game
VerticalAxisGroup to move staves closer together.

The second model for controlling vertical spacing centers around
NonMusicalPaperColumn line-break-system-details, is very lightly
touched on in 11.4, and concerns commands like:

\overrideProperty
#"Score.NonMusicalPaperColumn"
#'line-break-system-details
#'((alignment-offsets . (0 -5 -20)))

   \overrideProperty #"Score.NonMusicalPaperColumn"
   #'line-break-system-details #'((Y-offset . 20)
(alignment-offsets . (0 -15)))

 \overrideProperty
 #"Score.NonMusicalPaperColumn"
 #'line-break-system-details
 #'((fixed-alignment-extra-space . 15))

These overrides to line-break-system-details might be termed the
"strict" (or "control freak") approach to vertical spacing (as opposed
to the traditional, more "permissive" approach) because what we're
doing with these settings is saying "I want control here; start this
staff at exactly this vertical offset and then start this staff at
this vertical offset and finally put this staff at this vertical
offset; the vertical spacing that results is whatever results and I
don't even care if there are overlaps; just do what I say; oh and same
with the systems, too". If we want to be precise, we might even point
out that these overrides to line-break-system-details don't so much
control the spacing *between* staves and systems so much as the exact
vertical *positions at which* staves and systems begin on the page
(with the vertical spacing just a side-effect of these explicit
positioning commands).

The advantages and disadvantages to the line-break-system-details
approach to vertical spacing are pretty much what we would expect
versus the VerticalAxisGroup approach: line-break-system-details makes
it extremely easy to draw staves and system quite close to each other
but does indeed allow for staff or system overprinting.

So, to sum up this first point: it seems to me that there are two
different approaches to controlling vertical spacing: by
VerticalAxisGroup + paper settings or else by
line-break-system-details. These two methods aren't so much at odds
with each other as in a kind of cascade relationship: you can make
whatever VerticalAxisGroup + paper settings you want, but any
overrides to li

Re: Controlling vertical spacing exactly - mini HOWTO

[Trent Johnston]

Hi Trevor and all,

I've been watching your thread on controlling vertical space as I'm very 
interested in this area.


Joe Neeman gave me the following advice early in January of putting the 
"strict" control into the layout blook as follows:


\layout {
\context { \Score \override NonMusicalPaperColumn 
#'line-break-system-details = #'((alignment-offsets . (0 -15 -30 )))  }

}

he went on to say:

"If you want to change it mid-piece, you can use \override instead of 
\overrideProperty, but I think you have to do the \override one timestep 
before you want it to take effect."


I've been using the "layout block" method of controlling vertial spacing in 
the Handel opera I'm typesetting. This is an easier way than inputting after 
every line break which can be frustrating if the page layout changes or the 
score  is large and takes a long time to compile with each change. You can 
also change spacing for those systems that require a little more or less 
space. For the most part I haven't needed to change vertical spacing 
mid-score except in one instance and that was only for 2 systems instead the 
4.


I hope that this can help others as well.

Trent

P.S. The one thing I can't figure out is what the numbers refer to. Are they 
staff spaces as in what you would using in overriding minimum-Y-extent? I 
seem to be using larger numbers than what I would use when setting 
minimum-Y-extent..



- Original Message - 
From: "Trevor Bača" <[EMAIL PROTECTED]>
To: "Graham Percival" <[EMAIL PROTECTED]>; "Maximilian Albert" 
<[EMAIL PROTECTED]>
Cc: "lilypond-user" ; "lilypond-devel" 


Sent: Wednesday, January 31, 2007 11:30 AM
Subject: Re: Controlling vertical spacing exactly - mini HOWTO



On 1/18/07, Graham Percival <[EMAIL PROTECTED]> wrote:

Trevor Bača wrote:
> The following might be of interest to folks using proportional
> notation. If there's any general interest (of if Graham wants it to be
> so) then I'll retype the following as an addition to 11.3.4
> "Controlling spacing of individual systems".

Definitely.  I don't think you need to make many changes; I'd get rid of
the capital-letter sections at the end, though.  Or integrate that
material into the rest of stuff.

In the future, it's safest if you cc'd potential doc stuff to the -devel
list, since I don't read -user in any great detail these days.


Hi Graham & Max (and everyone),

I've been reading through chapter 11 on vertical spacing and getting
some vertical spacing examples ready for the manual.

And on reflection I think I've now figured out why it's been tricky
for me to get a good conceptual handle on vertical spacing. So I'd
like to bounce two ideas off of you guys and see if the way that I'm
thinking about the problem makes sense.

1. First, it seems that there are two *different* models for
controlling vertical spacing, which we might term "permissive" and
"strict", respectively. The first model corresponds roughly to chapers
11.3.1 and 11.3.3, and concerns overrides to VerticalAxisGroup and
settings in the paper block like

 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)

 \paper {
between-system-space = 1.5\cm
between-system-padding = #1
ragged-bottom=##f
ragged-last-bottom=##f
 }

My analysis of this type of vertical spacing control is that what
we're really doing here is mostly setting *padding* in different
guises. We're not really saying "this staff should be so far away from
this other staff; and then this system should be so far away from this
other system further down the page". Instead we're saying "I want at
least this much padding between these staves or between these systems;
beyond those padding specifications, just let Lily figure out what to
do." So we might term this padding-based way of thinking about
vertical spacing something like "permissive". And an interesting
characteristic of this way of tweaking vertical spacing is that -- I
think -- you can *not* cause staves or systems to *overlap*. And this
relates to the primary disadvantage of using VerticalAxisGroup
overrides (and paper and margin adjustments) to control vertical
spacing: it can sometimes seem frustratingly difficult to draw staves
or systems close enough together.[1]

[1] Feel free to contradict me here; Is it possible to cause staff- or
system-overlaps using the commands given in 11.1 and 11.3? And maybe I
was alone in my experience of feeling frustrated trying to game
VerticalAxisGroup to move staves closer together.

The second model for controlling vertical spacing centers around
NonMusicalPaperColumn line-break-system-details, is very lightly
touched on in 11.4, and concerns commands like:

 \overrideProperty
#"Score.NonMusicalPaperColumn"
#'line-break-system-details
#'((alignment-offsets . (0 -5 -20)))

   \overrideProperty #"Score.NonMusicalPaperColumn"
   #'line-break-system-details #'((Y-offset . 20)
(alignment-offsets . (0 -15)))

 \overrideProperty
 #"Score.NonMusicalPaperColumn"
 #

Re: Controlling vertical spacing exactly - mini HOWTO

[Trevor Bača]

On 1/30/07, Trent Johnston <[EMAIL PROTECTED]> wrote:

Hi Trevor and all,

I've been watching your thread on controlling vertical space as I'm very
interested in this area.

Joe Neeman gave me the following advice early in January of putting the
"strict" control into the layout blook as follows:

\layout {
 \context { \Score \override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-offsets . (0 -15 -30 )))  }
}

he went on to say:

"If you want to change it mid-piece, you can use \override instead of
\overrideProperty, but I think you have to do the \override one timestep
before you want it to take effect."


Hi Trent,

Ah, right. I'd forgotten that you can \override the
NonMusicalPaperColumn grob globally for an entire context (which is
why all the examples I'd put into the thread so far show the
NonMusicalPaperColumn grob being overriden with \overrideProperty in
the middle of note input).

(FWIW, I think the same breadcrumb appears in the
alignment-vertical-spacing.ly reg test comments, viz: For technical
reasons, overrideProperty has to be used for setting properties on
individual object. \override in a \context block may still be used for
global overrides.)

I'm sure you already know that context settings in the layout-block
are equivalent to context settings in the with-block. But here's an
example just in case:

%%% WITH-BLOCK BEGIN %%%

\version "2.11.14"

\layout { indent = #0 }

\new Score \with {
  \override NonMusicalPaperColumn
  #'line-break-system-details = #'((alignment-offsets . (0 -15)))
} <<
  \new Staff {
 \repeat unfold 18 { c'4 c'4 c'4 c'4 }
  }
  \new Staff {
 \repeat unfold 18 { d'4 d'4 d'4 d'4 }
  }




%%% END %%%

I'm a huge fan of with-blocks :-)





P.S. The one thing I can't figure out is what the numbers refer to. Are they
staff spaces as in what you would using in overriding minimum-Y-extent? I
seem to be using larger numbers than what I would use when setting
minimum-Y-extent.


In an earlier part of the thread Max wrote this:


Maybe it would also be a good idea to mention that the numbers are

interpreted as multiples of the distance between adjacent staff lines
and that positive numbers move the staves/lyrics up and negative values
move them down (better to read it in the docs than having to cook up an
example to find out by trial and error).

I haven't tested this myself, but it certainly sounds right.


--
Trevor Bača
[EMAIL PROTECTED]
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Guitar fingering and string numbers

[Martin Nopola]

\version "2.8.8"   on Suse Linux 10

I have been making beautiful copies of classical guitar music for 
my 8 string guitar. Everything works fine as long as I can copy 
a template such as
\set Score.skipTypesetting = ##t
  s4*8

And this works for string number spacing if I enter them as text
\once \override TextScript #'staff-padding = #3.0
        b4^"2" e a2-3     
But the numbers are twice as large as default string numbers.

However, when I try changing variables on my own nothing works.
This is one of my numerous failures
\once \override StringNumberOrientations #' Stringnumber = down
        4-1 fis  e    

How do I set    
fingeringOrientation (up,down,left.right)
StringNumberOrientations (up, down) 
StringNumber #'staff-padding = #2.0
fingerNumber  #'staff-padding

Someday this will all make sense.

Marty


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Glissando notation?

[Robert Kennedy]

It seems in Lilypond (v2.10.14) the default notation for glissandos is
a straight line. I've never seen that notation used for glissando
before so I have no idea why it's the default, but that's OK because
everything can be changed, right?

So I tried "\override Glissando #'style = #'zigzag", thinking it would
give me the right thing. But it gives me a very thin, light zig-zag
line -- yet another notation that I have never seen used for
glissando.

The most common, correct notation for glissando looks like a trill
mark. It's a wavy line of varying thickness.

A statement in the on-line reference documentation suggests that
"\override Glissando #'style = #'trill" might help:

http://lilypond.org/doc/v2.10/Documentation/user/lilypond-internals/line_002dspanner_002dinterface#line_002dspanner_002dinterface

But unfortunately it doesn't work. I still get a light, straight
line. How do I get correct glissando notation?

-- Robert

P.S. I really *love* the output I get from Lilypond but even (dare I
say it?) Finale gets this particular piece of notation more or less
right.


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Re: Guitar fingering and string numbers

[Daniel Tonda]

Hi, from a fellow guitarist!


2007/1/30, Martin Nopola <[EMAIL PROTECTED]>:


\version "2.8.8"   on Suse Linux 10

I have been making beautiful copies of classical guitar music for
my 8 string guitar. Everything works fine as long as I can copy
a template such as
\set Score.skipTypesetting = ##t
 s4*8

And this works for string number spacing if I enter them as text
\once \override TextScript #'staff-padding = #3.0
  b4^"2" e a2-3
But the numbers are twice as large as default string numbers.

However, when I try changing variables on my own nothing works.
This is one of my numerous failures
\once \override StringNumberOrientations #' Stringnumber = down
  4-1 fis e 

For fingerings and such I always put them between brackets:

4 fis e  %...

If the fingering is outside the brackets, the fingering orientations
may not work properly.


How do I set
fingeringOrientation (up,down,left.right)


\set fingeringOrientations = #'(left)


StringNumberOrientations (up, down)

\set stringNumberOrientation = #'(up)

StringNumber #'staff-padding = #2.0


\override StringNumber #'padding = #2.0


fingerNumber #'staff-padding

Someday this will all make sense.

Marty



This is an idea that may work for you.

I have a settings file where I define certain items, such as fingering
positions, string number positions, etc, and I include it in every
guitar-oriented score I typeset.

for example:

rhu = { \set strokeFingerOrientation = #'(up) }
rhd = { \set strokeFingerOrientation = #'(down) }
rhuonce = { \once \set strokeFingerOrientation = #'(up) }
% ...etc

I include it in the new ly score, such as:

\version "2.11.14"

\include "/home/danton67/lib/ly/mydefs.ly"

% Whenever I need an upward stroke fingering overall I just put:
\rhu

% If i only need it occassionally, I just put:
\rhuonce

If you're interested in the "library", ask and I'll send it to your
mail. So as not to burden the list.






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--
Daniel Tonda C.


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Documentation: Software architecture overview and details?

[Robert Kennedy]

I am a beginner at Lilypond, and I like it very much, but I am
struggling to understand how to use it. In this e-mail I am going to
ask for pointers to some documentation. I realize that some of it
might not exist -- I am familiar with how open source projects go,
and I understand and accept that these things are always works in
progress.

LP is a wonderful tool and I'm very happy with the output it's giving
me 99% of the time, but controlling the remaining 1% seems completely
beyond my reach because I haven't been able to find some important
pieces of documentation. I hope they already exist and I just haven't
been able to locate them.

Anyway, I don't mean to be complaining, even though it might sound
that way. I would just like to know how people (users and developers)
recommend I learn the information required to use this seemingly
excellent program.

I think most of my struggle is because I haven't found a document that
explains the flow of information through Lilypond. For example, I know
it's possible to embed TeX expressions, and I know it's possible to
embed scheme code. But nowhere have I found an explanation of the form
"First your Lilypond input file is translated into Scheme, and then
the resulting Scheme program is run to produce Tex output." I am left
to guess whether that's what happens, or if something completely
different happens. I am seeking a document that describes the overall
software architecture, first at a high level, and then with enough
detail to actually be useful.

There is lots of reference material on the individual interfaces and
objects, but I haven't found any explanation of what those things
actually are. Are they basic constructs that any scheme programmer
would instantly recognize? I am an experienced LISP programmer and an
experienced object-oriented programmer (C++, Python, Perl), so Scheme
and object orientation are not completely foreign to me. But I don't
have any clue about these aspects of Lilypond. The documentation gives
an explanation of what a CONS cell is in the "Scheme tutorial"
section, but am I then expected to jump from there to an understanding
of interfaces, grobs, properties, contexts, and objects? If we assume
someone needs an explanation of CONS cells, where is the document that
can help that person use that information to understand what the heck
is going on? Even though I already know what CONS cells are, I think
such a document would help me a great deal.

I have also not been able to find any systematic information about how
to debug Lilypond files. When I get output different from what I
expect, it seems the only thing I can do is write a message to this
list, and wait for a reply from a helpful wizard. I have been very
lucky that helpful wizards are plentiful and kind, but it would be
nice if there were a way for me to see the generated Scheme code (if
such a thing exists) so I could see, for example, why setting some
property will have no effect, and (hopefully) what different property
or object I should use instead. There must be a way better than
guessing. How can I learn about it?

Thanks in advance for any help!

-- Robert Kennedy


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A few more tweaking questions

[Robert Kennedy]

In the output from the LP source file appended below,

1. Why does the volta line for the second ending on the first staff
   start too far to the left? How should I fix it?

2. Why is the setting of the Glissando's minimum-length property
   ignored? How should I fix it?

Many thanks!

-- Robert Kennedy

   
\header{
  title = "Bouncing with Bud (Bebop in Pastel)"
  composer = "Earl Rudolph \"Bud\" Powell"
  enteredby = "Robert Kennedy"
  style = "jazz"
  tagline = ""
}

harmonies = \chordmode {
  \repeat volta 2 { bes1:maj bes1:maj b1:maj }
  \alternative { { b1:maj } { b1:maj } }
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj b:maj
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj d:7
  g1:m6 g:m6 a:m7.5- d:7.9+ g:7.11+ c:7.9+ c:m7 f:7
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes1:maj
  fis2:dim g:m6 d:7.9- g:m6 b:dim7 c:m7 b:dim7 c:m7
f1:7.9 f2.:7.9 b8:maj bes:maj r1 r1
}

melody = \relative {
  \key bes \major
  \repeat volta 2 { r8 f bes[ f'~] f4. f,8 bes f'8~ f2 r4 r8 f,8 b[ f'~] f4. 
f,8 }
  \alternative { { b8 f'~ f2 r4 } { b,8 f'~ f2 r8 ees8 } }
  { \once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0)
| \mark \markup { \box "A1" } d c bes a c bes a g f d ees ges~ ges4 f8 ees 
d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f4 
r2 r8 ees'8
\once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0)
| \mark \markup { \box "A2" } d a r8 c r bes r d, r a' r fis g f ees d f b, 
r2 r8 f'
fis g ees c gis' a fis d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c 
f bes, r8 d f d fis g~
| \mark \markup { \box "B" } g << g4 e d bes >> << a' fis dis c >> << bes' 
g e d >> << d'8~ bes~ g~ e~ >>
  << d'4 bes g e >> << bes'8 g e d >> << a'4 fis dis c >> << g' e d bes >> 
<< d'8~ a~ g~ ees~ >>
  << d'2~ a~ g~ ees~ >> << d'8 a g ees >> d' \times 2/3 { a g ees }
  \times 2/3 { << f'8 c bes fis >> ees' << f~ c~ bes~ fis~ >> } << f'2 c 
bes fis >> << ees'8 bes fis >> << cis'~ a~ e~ b~ >>
  << cis'2~ a~ e~ b~ >> << cis'8 a e b >> e' cis f,
  \times 2/3 { << ees' bes aes e >> des' << ees~ bes~ aes~ e~ >> } << ees'2 
bes aes e >> des'8 << d~ bes~ g~ ees~ >>
  << d' bes g ees >> << bes'~ g~ ees~ d~ >> << bes'4 g ees d >> bes'16 a 
aes g ees8 g
  << des' e, >> << c'~ ees,~ >> << c'4 ees, >> r4 r8 ees'8
| \mark \markup { \box "A3" } d c bes a c bes a g f d ees ges~ ges4 f8 ees 
d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f8 
bes, r2. \bar "||"
| \mark \markup { \box "C" } c'4 c bes r8 a~ a a~ a g~ g4 r d' f ees r8 b~ 
b4 d8 c~ c4 aes8 g~ g1~ g2. b8 bes r1 r1 \bar "|."
  }
}

\layout {
  \context { \Score \override RemoveEmptyVerticalGroup #'remove-first = ##t }
}
<<
  \new ChordNames \with {
chordChanges = ##t
voltaOnThisStaff = ##t
\override VoltaBracket #'minimum-space = #0
}
{
\harmonies
}
  \new Staff \with {
voltaOnThisStaff = ##f
}
{ \melody
}
>>

\version "2.10.14"
[Robert-Kennedys-Computer:~/Music/Lilypond lead sheets and scores] robert% fg
emacs bouncing.ly
[Robert-Kennedys-Computer:~/Music/Lilypond lead sheets and scores] robert% 
emacs bouncing.ly
[Robert-Kennedys-Computer:~/Music/Lilypond lead sheets and scores] robert% clear

[Robert-Kennedys-Computer:~/Music/Lilypond lead sheets and scores] robert% 
emacs bouncing.ly
[Robert-Kennedys-Computer:~/Music/Lilypond lead sheets and scores] robert% cat 
bouncing.ly
\header{
  title = "Bouncing with Bud (Bebop in Pastel)"
  composer = "Earl Rudolph \"Bud\" Powell"
  enteredby = "Robert Kennedy"
  style = "jazz"
  tagline = ""
}

harmonies = \chordmode {
  \repeat volta 2 { bes1:maj bes1:maj b1:maj }
  \alternative { { b1:maj } { b1:maj } }
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj b:7.11+
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj d:7
  g1:m6 g:m6 a:m7.5- d:7.9+ g:7.11+ c:7.9+ c:m7 f:7
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes1:maj
  fis2:dim g:m6 d:7.9- g:m6 b:dim7 c:m7 b:dim7 c:m7
f1:7.9 f2.:7.9 b8:maj bes:maj r1 r1
}

melody = \relative {
  \key bes \major
  % \override Glissando #'style = #'zigzag
  \override Glissando #'style = #'trill
  \override Glissando #'minimum-length = #5
  \repeat volta 2 { r8^\markup{\bold "Intro"} f bes[ f'~] f4. f,8 bes f'8~ f2 
r4 r8 f,8 b[ f'~] f4. f,8 }
  \alternative { { b8 f'~ f2 r4 } { b,8 f'~ f2 r8 ees8 } }
  { \once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0)
| \mark \markup { \box \bold "A1" } d c bes a c bes a g f d ees ges~ ges4 
f8 ees d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f4 
r2 r8

Making a staff take extra vertical space?

[Robert Kennedy]

Without changing any other spacing, how can I make the final staff in
this lead sheet take up some extra space so the chord symbols will
move up (relative to the staff) and won't overlap the markup text?

My best idea so far is to put an invisible note somewhere (using
\transparent) at the top of the staff with its stem pointing up. But I
haven't been able to figure out how to use \stemUp; for example,
<< \stemUp f4 \stemNeutral f >>
gives me only one stem. Also, notes produced with \transparent take up
both vertical and horizontal space. I want something that takes no
horizontal space, but does take vertical space.

Thanks for any help with this!

-- Robert

   
\header{
  title = "Bouncing with Bud (Bebop in Pastel)"
  composer = "Earl Rudolph \"Bud\" Powell"
  enteredby = "Robert Kennedy"
  style = "jazz"
  tagline = ""
}

harmonies = \chordmode {
  \repeat volta 2 { bes1:maj bes1:maj b1:maj }
  \alternative { { b1:maj } { b1:maj } }
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj b:7.11+
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj d:7
  g1:m6 g:m6 a:m7.5- d:7.9+ g:7.11+ c:7.9+ c:m7 f:7
  bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes1:maj
  fis2:dim g:m6 d:7.9- g:m6 b:dim7 c:m7 b:dim7 c:m7
f1:7.9 f2.:7.9 b8:maj bes:maj r1 r1
}

melody = \relative {
  \key bes \major
  % \override Glissando #'style = #'zigzag
  \override Glissando #'style = #'trill
  \override Glissando #'minimum-length = #5
  \repeat volta 2 { | \mark \markup{\bold "Intro"} r8 f bes[ f'~] f4. f,8 bes 
f'8~ f2 r4 r8 f,8 b[ f'~] f4. f,8 }
  \alternative { { b8 f'~ f2 r4 } { b,8 f'~ f2 r8 ees8 } }
  { \once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0.5)
| \mark \markup { \box \bold "A1" } d c bes a c bes a g f d ees ges~ ges4 
f8 ees d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f4 
r2 r8 ees'8
\once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0)
| \mark \markup { \box "A2" } d a r8 c r bes r d, r a' r fis g f ees d f b, 
r2 r8 f'
fis g ees c gis' a fis d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c 
f bes, r8 d f d fis g~
| \mark \markup { \box "B" } g << g4 e d bes >> << a' fis dis c >> << bes' 
g e d >> << d'8~ bes~ g~ e~ >>
  << d'4 bes g e >> << bes'8 g e d >> << a'4 fis dis c >> << g' e d bes >> 
<< d'8~ a~ g~ ees~ >>
  << d'2~ a~ g~ ees~ >> << d'8 a g ees >> d' \times 2/3 { a g ees }
  \times 2/3 { << f'8 c bes fis >> ees' << f~ c~ bes~ fis~ >> } << f'2 c 
bes fis >> << ees'8 bes fis >> << cis'~ a~ e~ b~ >>
  << cis'2~ a~ e~ b~ >> << cis'8 a e b >> e' cis f,
  \times 2/3 { << ees' bes aes e >> des' << ees~ bes~ aes~ e~ >> } << ees'2 
bes aes e >> << des'8 bes aes e >> << d'~ bes~ g~ ees~ >>
  << d' bes g ees >> << bes'~ g~ ees~ d~ >> << bes'4 g ees d >> bes'16 a 
aes g ees8 g
  << des' e, >> << c'~ ees,~ >> << c'4 ees, >> r4 r8 ees'8
| \mark \markup { \box "A3" } d c bes a c bes a g f d ees ges~ ges4 f8 ees 
d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f8 
bes,
\once \override Score.RehearsalMark #'break-visibility = 
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #right
\once \override Score.RehearsalMark #'extra-offset = #'(6 . 0)
\mark \markup { \bold "Fine" } r2. \bar "||"
\once \override Score.RehearsalMark #'extra-offset = #'(12 . 0)
| \mark \markup { \box "C" \bold "(first time only)" } c'4 c bes r8 a~ a a~ 
a g~ g4 r d' f ees r8 b~ b4 \glissando d8 c~ c4 aes8 g~ g1~ g2. b8 bes r1 r1 
\bar "|."
  }
}

\layout {
  \context { \Score \override RemoveEmptyVerticalGroup #'remove-first = ##t }
}
<<
  \new ChordNames \with {
chordChanges = ##t
voltaOnThisStaff = ##t
\override VoltaBracket #'minimum-space = #0
\override VoltaBracket #'extra-offset = #'( 0 . -1 )
}
{
\harmonies
}
  \new Staff \with {
voltaOnThisStaff = ##f
}
{ \melody
}
>>

\version "2.10.14"
   


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