date:20130515

Am Sonntag, den 12.05.2013, 21:51 -0400 schrieb Kieren MacMillan:
 Hello all,
 
 I'm working on putting together some house style stylesheets, and wanted to 
 see if I had the best structure…
 
 As one example, I'm tweaking up a Henle piano score stylesheet (e.g. 
 Beethoven Piano Sonatas Urtext, ca. 1980):
 
 1. Lilypond.ily
 -- basic settings [that really should be Lilypond defaults!]
 
 2. Score.ily
 -- \Score context settings [that really should be Lilypond defaults!]
 -- \include Lilypond.ily
 
 3. PianoStaff.ily
 -- \PianoStaff context settings [that really should be Lilypond defaults!]
 -- \include Score.ily
 
 4. Henle_house.ily
 -- settings that are Henle- (but not piano-) specific
 
 5. Henle_piano.ily
 -- settings that are Henle-piano-specific
 -- \include Henle_house.ily and \PianoStaff.ily
 
 6. piano_Henle_concert.ily
 -- final settings that make it all look like (e.g.) the Beethoven Piano 
 Sonatas edition
 -- \include Henle_piano.ily
 
 Does that look like the best (i.e., most flexible) structure?

I don't know if it's the _best_ and _most flexible_ structure, but it
definitely looks like a _good_ and _flexible_ structure. 
You can modularely exchange files at any level, and you can include any
style with one line in your main .ly file.
(Just one question: Why is 6. named as it is?)
I'd suggest to go for it.

And I think we all would be quite interested in your results ;-)

Urs

 
 Thanks,
 Kieren.
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Best practice for parts with varying number of staves

Hi all,

I'm facing the mountain of a huge orchestral score, and I think it's a
good idea to get a few things right before starting to climb. Lacking
experience with this type of score I will probably have to ask a few
times ...

Some parts vary the number of staves along the way (for example the
violas are written on one up to four(!) staves). And I'm not sure what
the most efficient approach to this is.

While entering the music I respect the line breaking of the original
score, so it would be easy to just start and stop new staves when it
happens in the model. But when I switch to LilyPond's line breaking this
will surely break - the added temporary staves often start with some
measures of rests of course.

Of course I will use \RemoveEmptyStaves, but that won't help me
automatically.

a)
I could just enter it as I encounter it (i.e. start additional staves
when they start in the engraver's copy).
When switching to individual line breaking I could just see what happens
and add or remove empty bars as needed.
- looks like a very awkward messing with manual changes later.

aa)
I could start additional staves when their content starts and see what
happens later.
- looks only _slightly_ less awkward.

b)
I could add some 'padding' empty measures around each additional staff
to ensure that when the music starts in the middle of a system there are
empty measures available from the start of the system.
- This might work but seems awkward in the entering phase because I
have to start/stop the additional staves at arbitrary points. This is
made worse by the fact that I have split the parts into short segments
(corresponding to the original rehearsal marks), which would probably
mean that I have to start a staff in a segment where it won't be used at
all.

c)
I could initially create the score with all possible staves and just let
\RemoveEmptyStaves do its job (well, that's what it is intended for ...)
- But that would mean the extra overhead of filling the extra staves
with rests for all the numerous pages where they aren't needed.

How would you approach this scenario?

Thanks for any opinion.

Urs


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Re: stylesheet structure

I'd like to see the results, fwiw...looks solid!

Ben


Urs Liska wrote
 Am Sonntag, den 12.05.2013, 21:51 -0400 schrieb Kieren MacMillan:
 Hello all,
 
 I'm working on putting together some house style stylesheets, and
 wanted to see if I had the best structure…
 
 As one example, I'm tweaking up a Henle piano score stylesheet (e.g.
 Beethoven Piano Sonatas Urtext, ca. 1980):
 
 1. Lilypond.ily
 -- basic settings [that really should be Lilypond defaults!]
 
 2. Score.ily
 -- \Score context settings [that really should be Lilypond defaults!]
 -- \include Lilypond.ily
 
 3. PianoStaff.ily
 -- \PianoStaff context settings [that really should be Lilypond
 defaults!]
 -- \include Score.ily
 
 4. Henle_house.ily
 -- settings that are Henle- (but not piano-) specific
 
 5. Henle_piano.ily
 -- settings that are Henle-piano-specific
 -- \include Henle_house.ily and \PianoStaff.ily
 
 6. piano_Henle_concert.ily
 -- final settings that make it all look like (e.g.) the Beethoven Piano
 Sonatas edition
 -- \include Henle_piano.ily
 
 Does that look like the best (i.e., most flexible) structure?
 
 I don't know if it's the _best_ and _most flexible_ structure, but it
 definitely looks like a _good_ and _flexible_ structure. 
 You can modularely exchange files at any level, and you can include any
 style with one line in your main .ly file.
 (Just one question: Why is 6. named as it is?)
 I'd suggest to go for it.
 
 And I think we all would be quite interested in your results ;-)
 
 Urs
 
 
 Thanks,
 Kieren.
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View this message in context: 
http://lilypond.1069038.n5.nabble.com/stylesheet-structure-tp145836p145935.html
Sent from the User mailing list archive at Nabble.com.

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Re: Best practice for parts with varying number of staves

2013-05-15 Thread Richard Shann

On Wed, 2013-05-15 at 10:05 +0200, Urs Liska wrote:
 c)
 I could initially create the score with all possible staves and just
 let
 \RemoveEmptyStaves do its job (well, that's what it is intended
 for ...)
 - But that would mean the extra overhead of filling the extra staves
 with rests for all the numerous pages where they aren't needed. 
You could use Denemo to create the initial skeleton - it will fill empty
measures with skips. You will need to fill out any measures that contain
time-signature changes, rehearsal marks etc, because, at the moment,
Denemo is doing nothing more than inserting skips for completely empty
measures.

Richard



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Re: Best practice for parts with varying number of staves

Am Mittwoch, den 15.05.2013, 09:48 +0100 schrieb Richard Shann:
 On Wed, 2013-05-15 at 10:05 +0200, Urs Liska wrote:
  c)
  I could initially create the score with all possible staves and just
  let
  \RemoveEmptyStaves do its job (well, that's what it is intended
  for ...)
  - But that would mean the extra overhead of filling the extra staves
  with rests for all the numerous pages where they aren't needed. 
 You could use Denemo to create the initial skeleton - it will fill empty
 measures with skips. You will need to fill out any measures that contain
 time-signature changes, rehearsal marks etc, because, at the moment,
 Denemo is doing nothing more than inserting skips for completely empty
 measures.
 
 Richard
 

Thanks for the idea, but that's not really viable. The initial skeleton
is done by a Python script that creates a 'part' with 90 segments filled
with rests and time signature changes.

Maybe it's the best idea to use this and go for my c) approach. It's
only that I had in mind to use these for each 'part', not for subparts.

Urs

 
 
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Re: stylesheet structure

Hi Urs,

 I don't know if it's the _best_ and _most flexible_ structure, but it
 definitely looks like a _good_ and _flexible_ structure. 

I probably can't ask for any more at this stage.  ;)

 (Just one question: Why is 6. named as it is?)

Good question. I guess I'm thinking of a situation where one wants to restyle a 
certain piece of 'piano' (the top level) music:

Berceuse_Henle_concert.ly
\include Berceuse_notes.ily
\include piano_Henle_concert.ily

Berceuse_Barenreiter_letter_landscape.ly
\include Berceuse_notes.ily
\include piano_Barenreiter_letter_landscape.ily

Somehow that hierarchy seemed more logical. Thoughts?

Thanks,
Kieren.


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Re: Best practice for parts with varying number of staves

Hi Urs,

 How would you approach this scenario?

I'm working on a mechanism involving \quoteDuring and \RemoveEmptyStaves which 
should handle this scenario perfectly. Right now, I'm testing it with a 
choral work which variously needs 4 (S+A+T+B), 2 (SA+TB), or 1 (SATB) staves, 
depending on the shared content. When it's ready for prime-time, I'll be sure 
to share it with the list for review.

Thanks,
Kieren.
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Re: Enhancement request, add a new command to fill the rest of staff with blank space

2013-05-15 Thread Ian Hulin

Dear ghe
I'd like to emphasize David's response about you continuing to user
V2.14.2 in the long-term.
There is absolutely nothing stopping using V2.16.2 on Debian, as far as
I know.  There are several advantages and very few disadvantages to
doing this:
o V2.16.2 is the latest stable release, if you do have a problem, it is
easier for developers to check it out and reproduce it than with a
historic stable release like 2.14.2.  This means that you're more likely
to get a response here or on the bugs list.
o Using V2.16.2 will make it easier to upgrade to future stable releases
of LilyPond.
o There are a load of enhancements in V2.16.2 which make LilyPond easier
to use and program, particularly in conjunction with some of the editors
such as Frescobaldi, LilyPondTool in JEdit, Eclipse, and even (Lord,
help us) Emacs and Vim.
o The V2.16.2 documentation's better and more complete even than the
docs for V2.14.2.

If there are some things that don't work the same way in 2.16.2, they
are most likely covered by using convert-ly.

I'd just like to make a few observations that would help you get more
and maybe quicker responses to you posts.

Please add a subject line to your posts.  I'm breaking my own personal
rule here that I don't generally reply to such posts.  I've just had to
spend extra time hunting down your original post to find out what it's
about.

Maybe you could give us a better indication of who you actually are?
Most of us on the LilyPond lists are reasonably friendly and
house-trained, and it feels more comfortable talking to a human name
than a mailbox alias.

Hope this helps,

Cheers,

Ian Hulin

On 12/05/13 17:01, David Kastrup wrote:
 g...@sdf.org writes:
 

 Alas, I use 2.14.2...

 Why?


 Because I use Debian, and the version of LilyPond in testing is
 2.14.2. I tried to install the 2.16.0 from Debian experimental, but
 for some reason the overall layout of my scores was changed, for
 worse.  Perhaps I should have tried to fix the problem
 
 Or report it so that it can be fixed.
 
 instead of downgrading, but I did not have the time to do so.
 
 Using 2.14 will not remain feasible for all the future.
 


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Re: stylesheet structure

Am Mittwoch, den 15.05.2013, 06:03 -0400 schrieb Kieren MacMillan:
 Hi Urs,
 
  I don't know if it's the _best_ and _most flexible_ structure, but it
  definitely looks like a _good_ and _flexible_ structure. 
 
 I probably can't ask for any more at this stage.  ;)

Exactly.
You should take that as a yes, but I won't take any responsibility
answer ;-)

 
  (Just one question: Why is 6. named as it is?)
 
 Good question. I guess I'm thinking of a situation where one wants to restyle 
 a certain piece of 'piano' (the top level) music:
 
 Berceuse_Henle_concert.ly
 \include Berceuse_notes.ily
 \include piano_Henle_concert.ily
 
 Berceuse_Barenreiter_letter_landscape.ly
 \include Berceuse_notes.ily
 \include piano_Barenreiter_letter_landscape.ily
 
 Somehow that hierarchy seemed more logical. Thoughts?

Does that mean concert represents a paper format? Then it is clear.
Otherwise I'd still not understand the naming scheme.

Urs

 
 Thanks,
 Kieren.
 



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Re: Best practice for parts with varying number of staves

Am Mittwoch, den 15.05.2013, 06:06 -0400 schrieb Kieren MacMillan:
 Hi Urs,
 
  How would you approach this scenario?
 
 I'm working on a mechanism involving \quoteDuring and
 \RemoveEmptyStaves which should handle this scenario perfectly.
 Right now, I'm testing it with a choral work which variously needs 4
 (S+A+T+B), 2 (SA+TB), or 1 (SATB) staves, depending on the shared
 content. When it's ready for prime-time, I'll be sure to share it with
 the list for review.
 
 Thanks,
 Kieren.

Sounds great!

What time horizon are you thinking about? Days, weeks, months?

Urs



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Absolute positioning of staves and measures

Hi,

is it possible at all to create a layout with absolute positioning of
the score structure?

I.e. I would like to be able to position the staves absolutely and set
an absolute width of each measure. It would be enough to have a score
with one staff or rhythmic staff alone.

The idea is to create a LilyPond score that is overlaid over a scanned
score.

Any ideas?
Urs


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Error 404 on attachments

I'm getting Error 404 whenever I click on the URL for an attachment. Am I doing 
something wrong?

An example is:

http://lists.gnu.org/archive/html/lilypond-user/attachments/20130513/318d5cfd/attachment.png

Happens on both Firefox and IE9.

 
Regards,

Peter
mailto:lilyp...@ptoye.com
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Re: How to get multiple text spanners at the same height?

I found the cres--cen--do conversation - it seems that there's a general need 
for a new form of text spanner which can spread out the text.

I'm not a Lilypond programmer, and don't really want to become one. What's the 
best way of  suggesting this as a new feature?

Meanwhile I'll try Nick's and Thomas's ideas out. Thanks both.
 
Regards,

Peter
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Re: How to get multiple text spanners at the same height?

2013/5/15 Peter Toye lilyp...@ptoye.com:
 I found the cres--cen--do conversation - it seems that there's a general
 need for a new form of text spanner which can spread out the text.

 I'm not a Lilypond programmer, and don't really want to become one. What's
 the best way of  suggesting this as a new feature?

 Meanwhile I'll try Nick's and Thomas's ideas out. Thanks both.

 Regards,

 Peter
 mailto:lilyp...@ptoye.com
 www.ptoye.com

Hi Peter,

I'm working on an improvement of the music-function from my previous
mail, though, even with succes, it would be a workaround, not a proper
implementation.

You could send a feature-request to the bug-list.
I'd think there is a wide interest in this feature.

Cheers,
  Harm

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Re: Enhancement request, add a new command to fill the rest of staff with blank space

2013-05-15 Thread ghe



Dear Ian,



I'd like to emphasize David's response about you continuing to user 
V2.14.2 in the long-term.




I never said that this is what I intend to do.  I started to use LilyPond 
two weeks ago, and because I use Debian, I installed it with a simple 
apt-get install lilypond, without checking if a newer version exists. 
When David told me about the difference of version, I already had a number 
of finalized scores (that are not for a long-term use, and moreover I'm 
more or less in a hurry).  I tried to install 2.16.0, and I noticed that 
the overall layout of my scores had changed for worse.  So I just 
downgraded the package.  I know I could have asked for help, and/or could 
have submitted a bug report, but I did not have enough time to do so.




There is absolutely nothing stopping using V2.16.2 on Debian, as far as 
I know.




Indeed, 2.16.2 has been released a few days ago.  Last time I checked (May 
2th) it was 2.16.0.




There are several advantages and very few disadvantages to doing this:
o V2.16.2 is the latest stable release, if you do have a problem, it is easier 
for developers to check it out and reproduce it than with a historic stable 
release like 2.14.2.  This means that you're more likely to get a response here 
or on the bugs list.
o Using V2.16.2 will make it easier to upgrade to future stable releases of 
LilyPond.
o There are a load of enhancements in V2.16.2 which make LilyPond easier to use 
and program, particularly in conjunction with some of the editors such as 
Frescobaldi, LilyPondTool in JEdit, Eclipse, and even (Lord, help us) Emacs and 
Vim.
o The V2.16.2 documentation's better and more complete even than the docs for 
V2.14.2.
If there are some things that don't work the same way in 2.16.2, they are most 
likely covered by using convert-ly.



I agree with all your points.  I promise that I'll use 2.16.2 when 
possible.  Please note that I'm an Emacs user, so I would have placed the 
(Lord, help us) elsewhere... ;-)




Please add a subject line to your posts.  I'm breaking my own personal 
rule here that I don't generally reply to such posts.  I've just had to 
spend extra time hunting down your original post to find out what it's 
about.




You will perhaps notice, if you look at my few posts on the mailing list 
(Note between bars, Two questions, Breathes placement, Set midi 
volume per voice?, Modern custodes?), that there is only one without a 
subject, namely the one you are replying to.  I just forgot to add one, 
I'm sorry for this.




Maybe you could give us a better indication of who you actually are? 
Most of us on the LilyPond lists are reasonably friendly and 
house-trained, and it feels more comfortable talking to a human name 
than a mailbox alias.




I'm sorry, I understand your point, but I don't really see how and why 
this could be helpful.  I personally prefer a relative anonymity, given in 
particular that the posts on this list will be archived in the long term. 
This is quite natural on the Internet.  Perhaps I should consider creating 
myself a new identity with a real first name?  By the way, ghe is not 
shorter than Ian, and can be pronounced (unlike kvz for example) ;-)


Best,

--ghe

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Re: Error 404 on attachments

2013-05-15 Thread Federico Bruni

2013/5/15 Peter Toye lilyp...@ptoye.com

 I'm getting Error 404 whenever I click on the URL for an attachment. Am I
 doing something wrong?

 An example is:


 http://lists.gnu.org/archive/html/lilypond-user/attachments/20130513/318d5cfd/attachment.png

 Happens on both Firefox and IE9.


You'd better send a link to the message where we can see the link to the
attachment.
For example, this works fine:
http://lists.gnu.org/archive/html/lilypond-user/2013-05/msg00448.html

you only have to rename the extension to .ly
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Re: Absolute positioning of staves and measures

2013-05-15 Thread Carl Peterson

I think this is what you're looking for on staff position:
http://lilypond.org/doc/v2.16/Documentation/notation/explicit-staff-and-system-positioning
.

Regarding measure width, I looked here:
http://lilypond.org/doc/v2.16/Documentation/notation/horizontal-spacing-overview.
It says there's no convenient way to do this. I'm thinking there might be a
way to use {\override Score.NonMusicalPaperColumn #'padding = #10} on a
separate voice to achieve what you want.

Cheers,
Carl


On Wed, May 15, 2013 at 6:39 AM, Urs Liska u...@openlilylib.org wrote:

 Hi,

 is it possible at all to create a layout with absolute positioning of
 the score structure?

 I.e. I would like to be able to position the staves absolutely and set
 an absolute width of each measure. It would be enough to have a score
 with one staff or rhythmic staff alone.

 The idea is to create a LilyPond score that is overlaid over a scanned
 score.

 Any ideas?
 Urs


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Re: Enhancement request, add a new command to fill the rest of staff with blank space

2013/5/15  g...@sdf.org:

 Dear Ian,


 Maybe you could give us a better indication of who you actually are? Most
 of us on the LilyPond lists are reasonably friendly and house-trained, and
 it feels more comfortable talking to a human name than a mailbox alias.


 I personally prefer a relative anonymity,

+1000

Thomas Morley is a fake.
Harm is a nick.

There are a few people on the list, knowing my real name, since I met
them offline.

-Harm

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Re: Enhancement request, add a new command to fill the rest of staff with blank space

Thomas Morley thomasmorle...@gmail.com writes:

 2013/5/15  g...@sdf.org:

 Dear Ian,


 Maybe you could give us a better indication of who you actually are? Most
 of us on the LilyPond lists are reasonably friendly and
 house-trained, and
 it feels more comfortable talking to a human name than a mailbox alias.


 I personally prefer a relative anonymity,

 +1000

 Thomas Morley is a fake.
 Harm is a nick.

 There are a few people on the list, knowing my real name, since I met
 them offline.

Both are more tangible than ghe.  They give an identity to a person
communicating on this list, even if it differs from the name on some
identity card.

-- 
David Kastrup

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Re: Absolute positioning of staves and measures

Am Mittwoch, den 15.05.2013, 08:18 -0400 schrieb Carl Peterson:
 I think this is what you're looking for on staff
 position: 
 http://lilypond.org/doc/v2.16/Documentation/notation/explicit-staff-and-system-positioning.
 

Thanks, I'll look better into this ...

 
 Regarding measure width, I looked
 here: 
 http://lilypond.org/doc/v2.16/Documentation/notation/horizontal-spacing-overview.
  It says there's no convenient way to do this. I'm thinking there might be a 
 way to use {\override Score.NonMusicalPaperColumn #'padding = #10} on a 
 separate voice to achieve what you want.
 

I thought I had an idea to use \hspace in a \markup.
With a single staff only for the markups it works (i.e. if you comment
the \music line out of the following example).
But it doesn't work because obviously the \textLengthOn in the 'spacing'
variable also affects the 'music'.

Urs


spacing = {
  \textLengthOn
  s1^\markup { | \hspace #15 | } 
  s1^\markup { \hspace #15 | } 
  s1^\markup { \hspace #15 | } 
  s1^\markup { \hspace #25 | } 
}

music = {
  \repeat unfold 16 c'4
}

\score {
  
\new Dynamics \spacing
\new Staff \music
  
}
 
 Cheers,
 Carl
 
 
 On Wed, May 15, 2013 at 6:39 AM, Urs Liska u...@openlilylib.org wrote:
 Hi,
 
 is it possible at all to create a layout with absolute
 positioning of
 the score structure?
 
 I.e. I would like to be able to position the staves absolutely
 and set
 an absolute width of each measure. It would be enough to have
 a score
 with one staff or rhythmic staff alone.
 
 The idea is to create a LilyPond score that is overlaid over a
 scanned
 score.
 
 Any ideas?
 Urs
 
 
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Re: Error 404 on attachments

Federico,

Thanks, but I think you're answering a different question. my problem was in 
retrieving attachments, not messages. The link for the attachment was in my 
original post.

The error message comes from the GNU server:

The requested URL 
/archive/html/lilypond-user/attachments/20130513/318d5cfd/attachment.png was 
not found on this server.
Apache/2.2.14 Server at lists.gnu.org Port 80

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Wednesday, May 15, 2013, 12:44:17 PM, you wrote:





2013/5/15 Peter Toye lilyp...@ptoye.com
I'm getting Error 404 whenever I click on the URL for an attachment. Am I doing 
something wrong?

An example is:

http://lists.gnu.org/archive/html/lilypond-user/attachments/20130513/318d5cfd/attachment.png

Happens on both Firefox and IE9.

You'd better send a link to the message where we can see the link to the 
attachment.
For example, this works fine:
http://lists.gnu.org/archive/html/lilypond-user/2013-05/msg00448.html

you only have to rename the extension to .ly___
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Re: Error 404 on attachments

2013-05-15 Thread Federico Bruni

2013/5/15 Peter Toye lilyp...@ptoye.com

 Federico,

 Thanks, but I think you're answering a different question. my problem was
 in retrieving attachments, not messages. The link for the attachment was in
 my original post.


I don't have your original message and I don't know which message you are
referring to. Probably I'm not the only one.
So if you don't give us a link to this message in the archive we cannot
check it.
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Re: Error 404 on attachments

Federico,

We're at cross-purposes here. I'm referring to messages in the mailing list, 
and I think you're referring to messages in the GNU archive. The message from 
the mailing list is below.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Wednesday, May 15, 2013, 3:32:44 PM, you wrote:





2013/5/15 Peter Toye lilyp...@ptoye.com
Federico,

Thanks, but I think you're answering a different question. my problem was in 
retrieving attachments, not messages. The link for the attachment was in my 
original post.

I don't have your original message and I don't know which message you are 
referring to. Probably I'm not the only one.
So if you don't give us a link to this message in the archive we cannot check 
it.



Message text:


Message: 1
Date: Mon, 13 May 2013 03:23:51 +0200
From: Thomas Morley thomasmorle...@gmail.com
To: Nick Payne nick.pa...@internode.on.net
Cc: lilypond-user@gnu.org
Subject: Re: How to get multiple text spanners at the same height?
Message-ID:
CABsfGyV+ikcYDGi-o=ue6kd7dsxz4gmdrfmhtizx_ydpwfz...@mail.gmail.com
Content-Type: text/plain; charset=iso-8859-1

 message deleted 

A non-text attachment was scrubbed...
Name: text-spanner-multiple-text-01.png
Type: image/png
Size: 44622 bytes
Desc: not available
URL: 
http://lists.gnu.org/archive/html/lilypond-user/attachments/20130513/318d5cfd/attachment.png

^
 This is the URL I mean



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Re: Error 404 on attachments

2013-05-15 Thread Patrick or Cynthia Karl

O
Message: 2
Date: Wed, 15 May 2013 11:51:06 +0100
From: Peter Toye lilyp...@ptoye.com
To: lilypond-user@gnu.org
Subject: Error 404 on attachments
Message-ID: 725883423.20130515115...@ptoye.com
Content-Type: text/plain; charset=iso-8859-15

I'm getting Error 404 whenever I click on the URL for an attachment. Am I
doing something wrong?

An example is:

http://lists.gnu.org/archive/html/lilypond-user/attachments/20130513/318d5cfd/attachment.png

Happens on both Firefox and IE9.

No, you're not doing anything wrong. The problem is that the URLs in at least
the digest are just incorrect. There is not even an attachments subdirectory
in lists.gnu.org/archive/html/lilypond-user, much less the subdirectories
20130513 31835cfd. I have enquired about this previously. Apparently, most of
the readers of the lilypond-user emails get them in a form that doesn't have
this problem, so nobody is much interested in fixing the problem.

The way I deal with this problem requires that I know the subject and date of
the email containing the broken URL. Since I don't know the subject of your
URL (above), I will illustrate my procedure with another email, namely one that
appeared yesterday in lilypond-user Digest, Vol 126, Issue 93. It is Message 4
from Wim van Dommelen with the subject: Re: an easier way to create the midi
block. At the end of this message is the following information:

-- next part --
A non-text attachment was scrubbed...
Name: flute.ly
Type: application/octet-stream
Size: 1198 bytes
Desc: not available
URL:
http://lists.gnu.org/archive/html/lilypond-user/attachments/20130515/62cea622/attachment.obj

I will find that attachment, which is apparently called flute.ly.

step 1: Browse to /lists.gnu.org/archive/html/lilypond-user. There you will
see a guide to all of the lilypond user email forever:

• 2013-05: [Date] [Thread]
• 2013-04: [Date] [Thread]
• 2013-03: [Date] [Thread]
•

step 2: click on [Thread] for the month of the message I'm interested, in this
case the one of the first line, 2013-05

step 3: This yields a list of all the emails in May, 2013, arranged by thread
with the threads sorted on the subject; in this case we are interested in Re:
an easier way to create the midi block. It turns out that this thread was
started in April, so the initial message in the thread is not in the threads
for May, 2013. So I go down the list of threads until I find Re: an easier
way to create the midi block. (If the initial message had been in May, this
thread would have been listed under an easier way to create the midi block.)
The messages within the threads are sorted by date, so I look for a message by
Wim van Dommelen on May 14:

• Re: an easier way to create the midi block, Wim van
Dommelen, 2013/05/15

This is a link to the actual archived message.

step 4: Click on that link. In that message we find a link, flute.ly.

step 5: Click on the flute.ly link and there it is.

Regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com
-- next part --
An HTML attachment was scrubbed...
URL:
http://lists.gnu.org/archive/html/lilypond-user/attachments/20130515/528d2397/attachment.html

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Re: Enhancement request, add a new command to fill the rest of staff with blank space

2013-05-15 Thread Gregory Heytings





Both are more tangible than ghe.  They give an identity to a person 
communicating on this list, even if it differs from the name on some 
identity card.




Okay, done.  Let's talk about real stuff now.

Gregory

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Re: Best practice for parts with varying number of staves

Thank you! That sounds like it would be a great utility for many of us
(myself included!)  - 

Ben


Kieren MacMillan wrote
 Hi Urs,
 
 How would you approach this scenario?
 
 I'm working on a mechanism involving \quoteDuring and \RemoveEmptyStaves
 which should handle this scenario perfectly. Right now, I'm testing it
 with a choral work which variously needs 4 (S+A+T+B), 2 (SA+TB), or 1
 (SATB) staves, depending on the shared content. When it's ready for
 prime-time, I'll be sure to share it with the list for review.
 
 Thanks,
 Kieren.
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-
composer | sound designer
--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/Best-practice-for-parts-with-varying-number-of-staves-tp145936p145961.html
Sent from the User mailing list archive at Nabble.com.

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Re: How to get multiple text spanners at the same height?

This is perfect for what I need.  Thank you.  One question though: what would
be the easiest way to center this span (so the dashes line up in the
center of the words, rather than along the bottom of the letters)?

Is there a way to do this in LilyPond or should I tweak this once my score
outputs (SVG) and then mess around in Inkscape or something?  I'm not sure
what the best way would be.

Ben

quote author=Thomas Morley-2
Hi,

a first try to do it more automatically:


\version 2.16.2

addTextSpannerText =
#(define-music-function (parser location text)(string?)
   
   Add text to TextSpanner.

   @var{text} should be entered using dashes to indicate hyphenation.
   Additional dashes may be used to affect spacing.
   
#{
   \once \override TextSpanner #'after-line-breaking =
 #(lambda (grob)
   (let* ((stil (ly:grob-property grob 'stencil))
  (layout (ly:grob-layout grob))
  (staff-space (ly:staff-symbol-staff-space grob))
  (line-thickness (ly:output-def-lookup layout 'line-thickness))
  ;; have we been split?
  (orig (ly:grob-original grob))
  ;; if yes, get the split pieces (our siblings)
  (siblings (if (ly:grob? orig)
(ly:spanner-broken-into orig)
'()))
  ;; get all (broken) stencils
  (stils
(if (null? siblings)
  (list stil)
  (map
(lambda (x) (ly:grob-property x 'stencil))
siblings)))
  ;; get the length of all stencils
  (stil-x-lengths
(map
  (lambda (x) (interval-length (ly:stencil-extent x X)))
  stils))
  ;; split the input-string into parts
  (text-lst (string-split text #\-))
  ;; how many parts did we get
  (txt-lst-length (length text-lst))
  ;; get a divisor to split `text-lst' into parts to be printed
  ;; before and after the line break.
  ;; TODO: find better method
  (partial (if (null? siblings)
   1
   (floor (/ txt-lst-length (length siblings)
  ;; get the parts
  ;; adding an empty string at end of first line,
  ;; an start of second line
  (head (append (list-head text-lst partial) '()))
  (tail (cons  (list-tail text-lst partial)))
  ;; get lists of whiteout-markups
  (mrkp-whiteout-proc
(lambda (x) (markup
  #:whiteout
  #:pad-markup line-thickness
  x)))
  (lst (map mrkp-whiteout-proc text-lst))
  (lst-head (map mrkp-whiteout-proc head))
  (lst-tail (map mrkp-whiteout-proc tail))
  ;; procedures to get the text-stencils.
  (mrkp
(lambda (x y)
#{
   \markup
 \override #`(line-width . ,(+ staff-space y))
 \fill-line
 $x
#}))
  (text-stil (lambda (x y) (grob-interpret-markup grob
(mrkp x y)

(ly:grob-set-property! grob 'stencil
  (cond ((null? siblings)

 (ly:stencil-add
   stil
   (text-stil lst (car stil-x-lengths
((and (= (length siblings) 2)
  (eq? (car siblings) grob))
 (ly:stencil-add
   stil
   (text-stil lst-head (car stil-x-lengths
((and (= (length siblings) 2)
  (eq? (cadr siblings) grob))
 (ly:stencil-add
   stil
   (text-stil lst-tail
  (+ (* 4 staff-space) (cadr stil-x-lengths)
(else (begin
 (ly:warning More than two linebreaks are not
supported.)
 stil))
#})


  \relative c'' {
\addTextSpannerText cres-cen-do
c1\startTextSpan
d'2 d\stopTextSpan
\addTextSpannerText cres-cen-do
c1\startTextSpan
\break
d'2 d\stopTextSpan
\break
\addTextSpannerText ral-len-tan-do
c1\startTextSpan
d'2 d\stopTextSpan
\addTextSpannerText ral-len-tan-do
c,1\startTextSpan
\break
d2 d\stopTextSpan
\break
\addTextSpannerText poco-a-poco-cres-cen-do
c,1\startTextSpan
d2 d\stopTextSpan
\addTextSpannerText poco-a-poco-cres-cen-do
c,1\startTextSpan
\break
d2 d\stopTextSpan
\break
\addTextSpannerText You-may-want-to-use-additional---dashes
c'1\startTextSpan
\break
d2 d d d\stopTextSpan
  }


HTH,
  Harm

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Fretboard scales

2013-05-15 Thread Vaylor Trucks

According to the LSR, the \scale markup is used to create fretboard scale 
diagrams (see http://lsr.dsi.unimi.it/LSR/Item?id=790).  However, according to 
the 2.16 manual, \scale does something else entirely.  Is there another way to 
create fretboard scale diagrams?  The only things I could find in the online 
manuals had to do with chord diagrams.


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Re: Fretboard scales

Vaylor Trucks vay...@gmail.com writes:

 According to the LSR, the \scale markup is used to create fretboard
 scale diagrams (see http://lsr.dsi.unimi.it/LSR/Item?id=790).

Uh, no?  This LSR _defines_ the \scale markup to create those diagrams.
_After_ loading the definition, this is what the \scale markup will do.

 However, according to the 2.16 manual, \scale does something else
 entirely.

Which is the reason that the name \scale chosen in the LSR code is a
fabulously bad idea and will likely break unrelated code.

 Is there another way to create fretboard scale diagrams?

Well, take the LSR code, and where it says \scale or scale, write
\scale-diagram or scale-diagram, respectively.

Since that changes both definition and use of \scale, you should be
fine.  Possibly also requires using convert-ly for converting from 2.14
syntax to 2.16 syntax, but I haven't checked.

-- 
David Kastrup


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Re: Quick Frescobaldi question

2013-05-15 Thread Josiah Boothby

On Tue, May 14, 2013 at 10:48 PM, Federico Bruni fedel...@gmail.com wrote:
 2013/5/7 SoundsFromSound soundsfromso...@gmail.com

 Hello all,

 I was just playing around in Frescobaldi tonight and I noticed that since
 updating to v2.0.9, my menu items are now text and not icons*.

 See included images please: can anyone tell me if I can make my Ubuntu
 13.04
 version show icons like in the Windows 7/8 screenshot?

 Am I missing a package or something?

 Thanks for any feedback,


 I can't remember if you have solved this issue..
 If you use Gnome 3 you can enable the icons system wide in dconf:

 dconf write /org/gnome/desktop/interface/menus-have-icons true

 I don't know if it works on Unity

Another option:

Because Frescobaldi is written in QT rather than GTK, the standard
Gnome configuration utilities may not do the job.

In Edit - Preferences, under the General Preferences tab, try
toggling the Use System Icons option. This may work at the cost of
having a different icon set in Frescobaldi than you use in your
desktop environment.

—Josiah

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Re: Fretboard scales

2013-05-15 Thread Vaylor Trucks

That explains a lot.  Thanks for your help, David.




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\grace in repeat breaks volta spanner?

2013-05-15 Thread steve


  HOwdy!

I have a problem putting a grace note in a repeat, when there are
two staves
in a system. See this link for a simplified example

http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/

http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/lily_grace_error.pdf

This is the error when compiling the source file

GNU LilyPond 2.16.2
Processing `lily_grace_error.ly'
Parsing...
Interpreting music...
warning: already have a volta spanner, ending that one prematurely
[8][8]
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `lily_grace_error.ps'...
Converting to `./lily_grace_error.pdf'...
Success: compilation successfully completed


  Works if there is just one stave. Is there a fix for this?

   This is the lilypond code that the above was created from

\version 2.16.2

global = {
  \time 3/4
  \clef G_8
  \key g \minor
}

guitarone = \relative c {

\repeat volta 2 { cis2. | }
\alternative {
{ cis4 r r }
{ cis4 r r }
}

\repeat volta 2 { fis2. | }
\alternative {
{ \grace fis16  g2. |}
{ g2. |}
}
}

guitarthree = \relative c'  {

\repeat volta 2 { a2. | }
\alternative {
{ d2. | }
{ d2. | }
}

\repeat volta 2 { d2. | }
\alternative {
{ g2. |}
{ g2. \bar |. |}
}
}

\score {

\new StaffGroup {

\new Staff  \global \guitarone 
\new Staff  \global \guitarthree 

}

\layout { }
}


  Ideas?

 thanx - steve




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Re: \grace in repeat breaks volta spanner?

2013-05-15 Thread James Worlton

On Wed, May 15, 2013 at 12:57 PM, st...@linuxsuite.org wrote:


   HOwdy!

 I have a problem putting a grace note in a repeat, when there are
 two staves
 in a system. See this link for a simplified example

 http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/


 http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/lily_grace_error.pdf

 This is the error when compiling the source file

 GNU LilyPond 2.16.2
 Processing `lily_grace_error.ly'
 Parsing...
 Interpreting music...
 warning: already have a volta spanner, ending that one prematurely
 [8][8]
 Preprocessing graphical objects...
 Finding the ideal number of pages...
 Fitting music on 1 page...
 Drawing systems...
 Layout output to `lily_grace_error.ps'...
 Converting to `./lily_grace_error.pdf'...
 Success: compilation successfully completed


   Works if there is just one stave. Is there a fix for this?

This is the lilypond code that the above was created from

 \version 2.16.2

 global = {
   \time 3/4
   \clef G_8
   \key g \minor
 }

 guitarone = \relative c {

 \repeat volta 2 { cis2. | }
 \alternative {
 { cis4 r r }
 { cis4 r r }
 }

 \repeat volta 2 { fis2. | }
 \alternative {
 { \grace fis16  g2. |}
 { g2. |}
 }
 }

 guitarthree = \relative c'  {

 \repeat volta 2 { a2. | }
 \alternative {
 { d2. | }
 { d2. | }
 }

 \repeat volta 2 { d2. | }
 \alternative {
 { g2. |}
 { g2. \bar |. |}
 }
 }

 \score {

 \new StaffGroup {
 
 \new Staff  \global \guitarone 
 \new Staff  \global \guitarthree 
 
 }

 \layout { }
 }


   Ideas?

  thanx - steve


\grace has issues when it is the first thing in a measure (it's in the
docs). If you add:
\grace s16
in the guitarthree part at the same musical moment it should compile
correctly.

James Worlton
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Re: lilypond-user Digest, Vol 126, Issue 97

2013-05-15 Thread Patrick or Cynthia Karl

 Message: 8
 Date: Wed, 15 May 2013 13:57:18 -0400
 From: st...@linuxsuite.org
 To: lilypond-user@gnu.org
 Subject: \grace in repeat breaks volta spanner?
 Message-ID:
   8dd9003f600bf39356e1bb4ed2b46c36.squir...@emailmg.netfirms.com
 Content-Type: text/plain;charset=iso-8859-1

  HOwdy!

I have a problem putting a grace note in a repeat, when there are
 two staves
 in a system. See this link for a simplified example

 http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/

 http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/lily_grace_error.pdf

This is the error when compiling the source file

 GNU LilyPond 2.16.2
 Processing `lily_grace_error.ly'
 Parsing...
 Interpreting music...
 warning: already have a volta spanner, ending that one prematurely
 [8][8]
 Preprocessing graphical objects...
 Finding the ideal number of pages...
 Fitting music on 1 page...
 Drawing systems...
 Layout output to `lily_grace_error.ps'...
 Converting to `./lily_grace_error.pdf'...
 Success: compilation successfully completed

  Works if there is just one stave. Is there a fix for this?

   This is the lilypond code that the above was created from

 \version 2.16.2

 global = {
  \time 3/4
  \clef G_8
  \key g \minor
 }

 guitarone = \relative c {

   \repeat volta 2 { cis2. | }
   \alternative {
   { cis4 r r }
   { cis4 r r }
}

   \repeat volta 2 { fis2. | }
   \alternative {
   { \grace fis16  g2. |}
   { g2. |}
}
 }

 guitarthree = \relative c'  {

   \repeat volta 2 { a2. | }
   \alternative {
   { d2. | }
   { d2. | }
   }

   \repeat volta 2 { d2. | }
   \alternative {
   { g2. |}%   = first 
 alternative to the second volta
   { g2. \bar |. |}
   }
 }

 \score {

   \new StaffGroup {

   \new Staff  \global \guitarone 
   \new Staff  \global \guitarthree 

   }

   \layout { }
 }

  Ideas?

This problem and its solution are discussed in the Known issues and warnings 
at the end of Section 1.2.6  Special rhythmic concerns, Grace notes.  You 
should write the first alternative to the second volta of guitarthree so:

{ \grace s16 g2. |}

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Re: stylesheet structure

Hi Urs,

 Does that mean concert represents a paper format?

Yes: 9x12 (or sometimes up to 9.5x12.5).

Cheers,
Kieren.

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Re: Best practice for parts with varying number of staves

Hi Urs,

 What time horizon are you thinking about? Days, weeks, months?

Likely October: I've got a full plate of commissions to compose in the meantime.

Cheers,
Kieren.
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Re: Best practice for parts with varying number of staves

2013-05-15 Thread Keith OHara

Urs Liska ul at openlilylib.org writes:

 Some parts vary the number of staves along the way (for example the
 violas are written on one up to four(!) staves). 

 b)
 I could add some 'padding' empty measures around each additional staff
 to ensure that when the music starts in the middle of a system there are
 empty measures available from the start of the system.
 - This might work but seems awkward in the entering phase because I
 have to start/stop the additional staves at arbitrary points. 

If you want the traditional output with staves filling whole lines, then
I think you will want to use your plan b or plan c.  The 'padding' can
be of a length convenient for you, maybe the length of music you would
assign to one variable, and LilyPond will quickly skip over the music
that she does not need to lay out.

1) In cases of divisi, where the violas split into two parts and rejoin,
you could 

a) allow temporary staves to start and stop mid-line, which can be very
clear with the right labels and span-bars, or

b) for the traditional way where temporary staves fill whole lines,
include the music where violas are in unison in *both* Staff contexts
(maybe by including your variable holding their music to the next
rehearsal mark in the sequence for both Staff contexts) and tell LilyPond
she may consider the shared segment of music on the temporary staff
as-if-empty for purposes of \RemoveEmptyStaves.
http://lists.gnu.org/archive/html/lilypond-user/2012-12/msg00059.html
http://lists.gnu.org/archive/html/lilypond-user-fr/2012-08/msg00050.html

2) In cases where layers of violas come and go (like in Thus Spoke
Zarathustra) then you will need multi-measure rests in the individual
parts, so you will want to write R1*456 or #(mmrest-of-length firstViolaQ)
for the player that sits quietly, and use RemoveEmptyStaves as usual.


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Re: Fretboard scales

2013/5/15 David Kastrup d...@gnu.org:
 Vaylor Trucks vay...@gmail.com writes:

 According to the LSR, the \scale markup is used to create fretboard
 scale diagrams (see http://lsr.dsi.unimi.it/LSR/Item?id=790).

 Uh, no?  This LSR _defines_ the \scale markup to create those diagrams.
 _After_ loading the definition, this is what the \scale markup will do.

 However, according to the 2.16 manual, \scale does something else
 entirely.

 Which is the reason that the name \scale chosen in the LSR code is a
 fabulously bad idea and will likely break unrelated code.

 Is there another way to create fretboard scale diagrams?

 Well, take the LSR code, and where it says \scale or scale, write
 \scale-diagram or scale-diagram, respectively.

 Since that changes both definition and use of \scale, you should be
 fine.  Possibly also requires using convert-ly for converting from 2.14
 syntax to 2.16 syntax, but I haven't checked.

 --
 David Kastrup


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http://lsr.dsi.unimi.it/LSR/Item?id=790
is changed, following David's suggestion.

-Harm

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Re: Fretboard scales

Thomas Morley thomasmorle...@gmail.com writes:

 2013/5/15 David Kastrup d...@gnu.org:

 Well, take the LSR code, and where it says \scale or scale, write
 \scale-diagram or scale-diagram, respectively.

 Since that changes both definition and use of \scale, you should be
 fine.  Possibly also requires using convert-ly for converting from 2.14
 syntax to 2.16 syntax, but I haven't checked.

 http://lsr.dsi.unimi.it/LSR/Item?id=790
 is changed, following David's suggestion.

Thanks

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Re: How to get multiple text spanners at the same height?

2013/5/15 SoundsFromSound soundsfromso...@gmail.com:
 This is perfect for what I need.  Thank you.  One question though: what would
 be the easiest way to center this span (so the dashes line up in the
 center of the words, rather than along the bottom of the letters)?

Translate the default-stencil a little, i.e. add
(ly:stencil-translate-axis stil 0.5 Y)

The override-command should look like:

...
   \once \override TextSpanner #'after-line-breaking =
 #(lambda (grob)
   (let* ((stil (ly:grob-property grob 'stencil))
  (stil (ly:stencil-translate-axis stil 0.5 Y))
...


As I wrote before, I'm working on an improvement.
Though, this may take some time.
I'll be offline during Pentecost, visiting Bundeswettbewerb Jugend
Musiziert, a german contest for young musicians.


Cheers,
  Harm

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Re: How to get multiple text spanners at the same height?

2013-05-15 Thread David Nalesnik

2013/5/15 SoundsFromSound soundsfromso...@gmail.com:
  TOne question though: what would
  be the easiest way to center this span (so the dashes line up in the
  center of the words, rather than along the bottom of the letters)?


I've always seen the dashes lined up along the bottom of the letters.  The
example given in Gould (pg. 106) does this.

-David
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Feature Request: Chromatic note names

2013-05-15 Thread Erico Schmitt

Hi, I am willing to use Chromatic Staff Notation on lilypond, which it 
already supports.

About the specific notation I want to use:
http://muto-method.com/en/score.html

How to make it (partially?) work:
http://musicnotation.org/wiki/software-wiki/lilypond/


The problem is:

In this notation, there are no sharps or flats, the chromatic scale is
do di re me mi fa fi so la se si (do),
So it makes sense if i could input notes with those names, and not fs/gf.

I can actually do it by editing language file
LilyPond\usr\share\lilypond\current\scm\define-note-names

so i can create a chromatic language and set di to mean a c# like this: 
(di . ,(ly:make-pitch -1 0 SHARP))

 So, where is the problem then??? 

Problem comes when using the \relative mode. Lilypond's octaves in this mode 
is based in the diatonic scale, so it will place the next note in the 
closest position possible (a fourth up or down).

If my fi note is set as an f#, and i input { do fi } (6 semitones), it 
will be interpreted as an augmented fourth, so it will placed upwards.
Now, if di note is set as c# and i input { di so } (also 6 semitones), it 
will be interpreted as diminished fifth. Actually it will be engraved as an 
augmented fourth downwards.

This augmented forth/diminished fifth enharmony simply does not exist in 
chromatic notation. It is all 6 semitones. So it makes a problem for the 
engraver, because some of the 6 semitones will randomly go up, some others 
down.

I cant fix it because lilypond pitch classes seem to be based on numbers 
0123456, where 0 is any kind of C, up to 6 which is any kind of B.

Can someone help me?

-Another minor issues---

The chromatic staff also does not uses clefs, key signatures, or 
accidentals. I can omit these using:

\remove Accidental_engraver
\remove Key_engraver
\remove Clef_engraver

but then i would like to place a BIG number in the place of the clef, 
representing the octave in scientific pitch notation, where middle C (middle 
octave) is 4, as seen in the MUTO Project site.

Another one is, how do I add dotted ledger lines?

I mean, when you add ledger lines into a new octave, the third line would be 
the same as the middle one, therefore it is dotted.
Also it would be nice that, when the dotted ledger line is required for a fi 
note, it extends through the whole bar, as it aids visualisation. In case 
you go way up to the next do, then you have both the dotted and a continuous 
line way up there, like a two octave staff.

I actually have the option of making a continuous double octave staff, but 
it wont be always used if you are playing a flute for exemple.
A flute has 3 octaves, starting on middle C, but often the flute parts dont 
go lower than the first octave G, or higher then the third octave G, so you 
dont need a 3 octave staff if you are basically using the middle one.

It also happens to violin, as the lowest note is a G, so you dont need a 
continuos do line down there if it wont be used anyway, just the dotted 
ledger line down.






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Re: How to get multiple text spanners at the same height?

Ah, I see. Thanks!

Thomas Morley-2 wrote
2013/5/15 SoundsFromSound lt;

soundsfromsound@

gt;:
This is perfect for what I need. Thank you. One question though: what
would
be the easiest way to center this span (so the dashes line up in the
center of the words, rather than along the bottom of the letters)?

Translate the default-stencil a little, i.e. add
(ly:stencil-translate-axis stil 0.5 Y)

The override-command should look like:

...
\once \override TextSpanner #'after-line-breaking =
#(lambda (grob)
(let* ((stil (ly:grob-property grob 'stencil))
(stil (ly:stencil-translate-axis stil 0.5 Y))
...

As I wrote before, I'm working on an improvement.
Though, this may take some time.
I'll be offline during Pentecost, visiting Bundeswettbewerb Jugend
Musiziert, a german contest for young musicians.

Cheers,
Harm

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David, that's interesting. I'll check some of my scores here too. Did
you mean Elaine's book, when you say Gould?

Ben

David Nalesnik-2 wrote
2013/5/15 SoundsFromSound lt;

soundsfromsound@

gt;:
TOne question though: what would
be the easiest way to center this span (so the dashes line up in the
center of the words, rather than along the bottom of the letters)?

I've always seen the dashes lined up along the bottom of the letters. The
example given in Gould (pg. 106) does this.

-David

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-
composer | sound designer
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/How-to-get-multiple-text-spanners-at-the-same-height-tp145793p145986.html
Sent from the User mailing list archive at Nabble.com.

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tweaking beam length

2013-05-15 Thread luis jure


dear list,

the output of the following code is shown in the first attached image:

\version 2.17.17

\score {
\new Voice \with {
  \remove Forbid_line_break_engraver
  \override Beam.breakable = ##t
}
  
  \relative c'' {
\repeat unfold 5 { c2. \repeat unfold 2 { c8[ c16] } c8 c2. } }
  \layout { }
}


i find the beams after the break (m. 6) too long, but i don't know how to
modify them. i'd like to get something like in the second image. is there
a property that i could somehow adjust? i tried a couple of searches in
the manual but i couldn't find anything appropriate. 

best,


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Re: Feature Request: Chromatic note names

2013-05-15 Thread Paul Morris

Hi Érico,  


Érico Schmitt wrote
 Problem comes when using the \relative mode. Lilypond's octaves in this
 mode 
 is based in the diatonic scale, so it will place the next note in the 
 closest position possible (a fourth up or down).
 
 If my fi note is set as an f#, and i input { do fi } (6 semitones), it 
 will be interpreted as an augmented fourth, so it will placed upwards.
 Now, if di note is set as c# and i input { di so } (also 6 semitones),
 it 
 will be interpreted as diminished fifth. Actually it will be engraved as
 an 
 augmented fourth downwards.
 
 This augmented forth/diminished fifth enharmony simply does not exist in 
 chromatic notation. It is all 6 semitones. So it makes a problem for the 
 engraver, because some of the 6 semitones will randomly go up, some
 others 
 down.
 
 I cant fix it because lilypond pitch classes seem to be based on numbers 
 0123456, where 0 is any kind of C, up to 6 which is any kind of B.
 
 Can someone help me?


Hmmm, this would be tricky.  You could try writing a scheme function that
would:

(1) override each note, 

(2) calculate the interval it forms with the previous note/pitch, (you would
have to access or temporarily store the previous note/pitch in a variable),

(3) then if the interval is an augmented 4th, change the enharmonic
equivalent (i.e. C# vs Db) of the note so that it would be a diminished 5th
(or vice-versa, as you prefer), otherwise leave the note unchanged.

This would make sure that 6 semitone intervals would always be diminished
5ths (or augmented 4ths), and have consistent behavior when using \relative
mode.

First you'd want to confirm that \relative mode makes its decision about a
note's octave *after* such an override of a note though.



 i would like to place a BIG number in the place of the clef, 
 representing the octave in scientific pitch notation, where middle C
 (middle 
 octave) is 4, as seen in the MUTO Project site.


This is much easier.  You just need some scheme code that replaces the
standard clef engraver with a custom clef that would display numbers
depending on the octave / clef it was replacing.  

I am using code that does custom clefs for TwinNote notation.  The custom
clefs are not big numbers, but the substitution principle would be the same:
http://twinnote.org/software/
http://twinnote.org/learn/clefs/

Look in the twinnote-scripts.ly file linked on that page for
TwinNote_clef_engraver.  Or, here, I'll just paste the code here:

clef-minus-one = #(markup #:bold #:magnify 0.63 -1)
clef-minus-two = #(markup #:bold #:magnify 0.63 -2)

#(define TwinNote_clef_engraver
  (make-engraver
(acknowledgers
  ((clef-interface engraver grob source-engraver)
(let* (
  (glyph-name (ly:grob-property grob 'glyph-name))
  (mult (magstep (ly:grob-property grob 'font-size 0.0
  
  ;; for dev work
  ;; (newline)(display glyph-name)
  
  (set! (ly:grob-property grob 'stencil)
(cond
  ((equal? glyph-name clefs.G) 
(ly:font-get-glyph (ly:grob-default-font grob)
clefs.G_change))

  ((or (equal? glyph-name clefs.F_change) (equal? glyph-name
clefs.F))
(ly:stencil-combine-at-edge 
  (ly:stencil-translate (ly:font-get-glyph
(ly:grob-default-font grob) clefs.G_change) (cons 0 -2))
  1 -1 
  (ly:stencil-translate (grob-interpret-markup grob
clef-minus-two) (cons 0.2 0))
  0.08 ))
  
  ((or (equal? glyph-name clefs.C_change) (equal? glyph-name
clefs.C)) 
(ly:stencil-combine-at-edge 
  (ly:stencil-translate (ly:font-get-glyph
(ly:grob-default-font grob) clefs.G_change) (cons 0 -1))
  1 -1 
  (ly:stencil-translate (grob-interpret-markup grob
clef-minus-one) (cons 0.2 0))
  0.08 ))
  
  (else (ly:grob-property grob 'stencil
  )


Then you would use 

  \consists \TwinNote_clef_engraver

in the \with block of your Staff.



 Another one is, how do I add dotted ledger lines?
 
 I mean, when you add ledger lines into a new octave, the third line would
 be 
 the same as the middle one, therefore it is dotted.
 Also it would be nice that, when the dotted ledger line is required for a
 fi 
 note, it extends through the whole bar, as it aids visualisation. In case 
 you go way up to the next do, then you have both the dotted and a
 continuous 
 line way up there, like a two octave staff.


This can be done manually by starting and stopping a different custom staff
override for the measures that need the additional lines.  I use this
technique to extend the staff for a few measures in Maple Leaf Rag in
TwinNote (see measure 9):
http://twinnote.org/sheet-music/#joplin-maple

I think it would be difficult to write some scheme code to do this
automatically when needed.  I wouldn't say

Instrument header repeating on page with multiple score blocks in file

2013-05-15 Thread Garrett Fitzgerald

Lilypond 2.16.2

I suspect this is an RTFM question, but I can't find the place in the
FM (or the FLSR) that tells me how to fix it.

I usually create separate files for the score and individual parts,
but I decided to try putting multiple bookparts in the same file to
get a single PDF generated. When I did, the score, which came first,
was fine, but the parts, which started on later pages, had the
instrument name, then the title, then the instrument name again. I
assume this is because the instrument name is repeated after the first
page, but I can't see how to either trick lilypond into restarting the
page numbering or to suppress the instrument name on later pages.

Thanks in advance. :-)

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Page break after score header

2013-05-15 Thread Carl Peterson

How would I go about forcing a page break after a score's header (before the 
actual music)? In preparing slides for my psalter project, I want to generate 
title cards before the first slide of each score. So far, everything I'be tried 
either generates an error or leaves the first system on the page (such as when 
I tried vspace-ing it off the page). I didn't see anything in the manual to 
allow this.

Cheers,
Carl

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Re: Feature Request: Chromatic note names