date:20131010

Re: NR 1.7.1: can't understand a sentence about scaling font size

2013-10-10 Thread Johan Vromans

Federico Bruni  writes:

> In NR 1.7.1, Selecting notation font size, I have:
> Font size changes are achieved by scaling the design size that is closest
> to the desired size.
>
> What is design here?

Originally, LilyPond used the TeX typesetting system to produce the
music. TeX fonts were designed to be used at a specific size, and
for different sizes different designs were used (which, indeed, lead to
splendid results). For example, a very small 'm' was a bit wider than
a scaled down version of a bigger 'm', to prevent it becomming too dense.

LilyPond fonts Feta and Parmesan are designed with MetaFont and contain
versions designed for different sizes, hence the text in NR.

With the modern scalable fonts much of this size-adjusting has been
incorporated in hints and other techniques, so the old art of designing
fonts for a specific size is mostly lost. (A pity in the eye of a
perfectionist.)

-- Johan

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Re: NR 1.7.1: can't understand a sentence about scaling font size

2013-10-10 Thread Federico Bruni

2013/10/11 Mike Solomon 

>
> On Oct 11, 2013, at 8:06 AM, Federico Bruni  wrote:
>
> In NR 1.7.1, Selecting notation font size, I have:
> Font size changes are achieved by scaling the design size that is closest
> to the desired size.
>
> What is design here?
> All the pararagraph is well explained, except for this sentence.
>
> Can you help me?
>
> Thanks
> Federico
>
>
> The feta font has several design sizes:
>
>
> http://www.lilypond.org/doc/v2.16/Documentation/notation/setting-the-staff-size
>
> When you specify a desired staff height (say 16.02), LilyPond chooses the
> closest font (in this case, feta 16, which has a staff height of 15.87) and
> scales it up to 16.02.
>
>
>
Ok, now I understand.
Thanks
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Re: NR 1.7.1: can't understand a sentence about scaling font size

2013-10-10 Thread Mike Solomon


On Oct 11, 2013, at 8:06 AM, Federico Bruni  wrote:
> In NR 1.7.1, Selecting notation font size, I have:
> Font size changes are achieved by scaling the design size that is closest to 
> the desired size.
> 
> What is design here?
> All the pararagraph is well explained, except for this sentence.
> 
> Can you help me?
> 
> Thanks
> Federico

The feta font has several design sizes:

http://www.lilypond.org/doc/v2.16/Documentation/notation/setting-the-staff-size

When you specify a desired staff height (say 16.02), LilyPond chooses the 
closest font (in this case, feta 16, which has a staff height of 15.87) and 
scales it up to 16.02.

Cheers,
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NR 1.7.1: can't understand a sentence about scaling font size

2013-10-10 Thread Federico Bruni

In NR 1.7.1, Selecting notation font size, I have:
Font size changes are achieved by scaling the design size that is closest
to the desired size.

What is design here?
All the pararagraph is well explained, except for this sentence.

Can you help me?

Thanks
Federico
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Re: laying out plainsong chant

2013-10-10 Thread SoundsFromSound

Hi Gabe,

Welcome to LilyPond!

If you'd like to put a note in parenthesis, simply add this command:
\parenthesize 

...to whichever pitches you which to enclose.

http://www.lilypond.org/doc/v2.16/Documentation/notation/inside-the-staff#parentheses

If you want to put simple text/characters below a note, just use this:

_" your text here or characters "

(underscore and then your text in quotes)

http://www.lilypond.org/doc/v2.16/Documentation/notation/writing-text

Hope this helps,
Ben


Gabe Moothart wrote
> Hello!
> I am new to lilypond, and I'm trying to layout a psalm chanted in
> plainsong, so that the output should look something like this:
> https://dl.dropboxusercontent.com/u/84432/psalm_example.png
> 
> So far I have this:
> https://gist.github.com/gmoothart/6929479
> 
> which renders like so:
> https://dl.dropboxusercontent.com/u/84432/ps149.pdf
> 
> Any comments/suggestions are helpful, but I think my biggest questions
> are:
> 1) How to create the "bar" in the music (I've inserted rests just to show
> where they go) ?
> 2) How to add parentheses around the "optional" notes, as in the example
> 3) How to add markings directly below the music (the ticks and slashes in
> the example)
> 4) how to add an "umlaut" over a letter as in the example.
> 
> Thanks in advance for any help. So far I'm very impressed with lilypond!
> Gabe
> 
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laying out plainsong chant

2013-10-10 Thread Gabe Moothart

Hello!
I am new to lilypond, and I'm trying to layout a psalm chanted in
plainsong, so that the output should look something like this:
https://dl.dropboxusercontent.com/u/84432/psalm_example.png

So far I have this:
https://gist.github.com/gmoothart/6929479

which renders like so:
https://dl.dropboxusercontent.com/u/84432/ps149.pdf

Any comments/suggestions are helpful, but I think my biggest questions are:
1) How to create the "bar" in the music (I've inserted rests just to show
where they go) ?
2) How to add parentheses around the "optional" notes, as in the example
3) How to add markings directly below the music (the ticks and slashes in
the example)
4) how to add an "umlaut" over a letter as in the example.

Thanks in advance for any help. So far I'm very impressed with lilypond!
Gabe
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RE: Ossia - Documentation Recommendation

2013-10-10 Thread Mark Stephen Mrotek

Mr. Palmer,

 

Thank you for your response.

 

Yes, compositions with various instruments involved in polytonality would have 
different key signatures. These cases would not be considered an example of an 
“ossia.” As I stated below an ossia is an alternative to an original passage. 
Both the original and the ossia would be for the same instrument. I cannot 
think of an example (my experience is with the piano) in which the ossia is in 
a different key than the rest of the composition.

 

Mark Stephen Mrotek

 

From: Ralph Palmer [mailto:palmer.r.vio...@gmail.com] 
Sent: Thursday, October 10, 2013 5:56 PM
To: Mark Stephen Mrotek
Cc: Eluze; lilypond-user Mailinglist
Subject: Re: Ossia - Documentation Recommendation

 

On Thu, Oct 10, 2013 at 7:28 PM, Mark Stephen Mrotek  
wrote:

Eluze,

An "ossia" is an alternative passage which may be played instead of the
original passage. As such it should (must?) have the same key signature.

 

Certainly not "must". There are pieces (e.g., in the Bartok violin duets) where 
instruments play at the same time in different keys, so why not an ossia in a 
separate key?

 

Ralph

 

-- 
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com 

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Re: Ossia - Documentation Recommendation

2013-10-10 Thread Ralph Palmer

On Thu, Oct 10, 2013 at 7:28 PM, Mark Stephen Mrotek
wrote:

> Eluze,
>
> An "ossia" is an alternative passage which may be played instead of the
> original passage. As such it should (must?) have the same key signature.

Certainly not "must". There are pieces (e.g., in the Bartok violin duets)
where instruments play at the same time in different keys, so why not an
ossia in a separate key?

Ralph

-- 
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com
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RE: Ossia - Documentation Recommendation

2013-10-10 Thread Mark Stephen Mrotek

Eluze,

Thank you for your interest in this matter.
An "ossia" is an alternative passage which may be played instead of the
original passage. As such it should (must?) have the same key signature.
Attached are two files. One does not have the key signature in the ossia
(without.ly) and the other has the key signature (with.ly).
Be assured that I made this suggestion after encounter and resolving an
issue in my encoding.

Mark Stephen Mrotek

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Eluze
Sent: Thursday, October 10, 2013 3:46 PM
To: lilypond-user@gnu.org
Subject: Re: Ossia - Documentation Recommendation

Mark Stephen Mrotek wrote
> When the instructions for Ossia
> (http://www.lilypond.org/doc/v2.16/Documentation/notation/modifying-si
> ngle-s
> taves#ossia-staves) are followed, a key signature is not included. 
> This may be because all of the examples are in c major.

or because it's a new staff and not all the staves use the same key or clef?

> Perhaps the documentation could include a notation (see red below).

please feel free to suggest some text to add to the documentation!

Eluze



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\version "2.16.2"

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

right = \relative c'' {
  \global
  
  g'4\sfp ) a,16 bes
  ces-1 bes cis d-1 g16. f32 f4 ees8~
  ees16 f ees\prall d ees f |
  <<
  { g b, c des ( c ) f ( e ) aes ( g ) des'-3 c g 
  \acciaccatura { g8 } bes4. aes4 g8 }
  
  
  \new Staff \with {
  \override TupletBracket #'bracket-visibility = ##f
  \override TupletNumber #'stencil = ##f
  \remove "Time_signature_engraver"
  alignAboveContext = #"right"
  fontSize = #-3
  \override StaffSymbol #'staff-space = #(magstep -3)
  \override StaffSymbol #'thickness = #(magstep -3)
  firstClef = ##f
 }
 { \key ees \major
   g32 [ b, c des  ]
   c [ f e a ]
   g [ des' c c ]
   \ottava #1
   c' [ b bes g ]
   \ottava #0
   e, [ c' b bes ]
   g [ e  des c ]
   des [ c b c ]
   \times 2/3 { e32 [ g bes ]
des [ c g ]
bes [ bes c ]
bes [ a bes ]
b [ c g ] }
   bes32\staccato ( a\staccato ) aes8.-> g16 } >>|
  f4.\trill \grace { e16 ( [ f ] } g8\staccato ) g ( d )
  ees4.-4 c-1 |

  
}

left = \relative c' {
  \global
  
  ees,8\staccato < g^5 ees'-2> ( < bes^4 ees^2 g-1 > )
  d,\staccato < g^5 ees'-2> ( < bes^4 ees^2 g-1 > )
  c,\staccato < g' e' > ( < c e g > )
  c,\staccato < g' e' > ( < c e bes' > )
  f,,\staccato < f' des' > ( < bes des e > )
  f,\staccato < f' c' > ( < aes c f > )
  bes,\staccato < f' d' > ( < bes d aes' > )
  b,\staccato < g' f' > ( < d' f g >)
  c,\staccato < g' ees' > ( < c ees g > )
  a,\staccato < ges' ees' > ( < c ees ges > )
  bes,\staccato < f' ees' > ( < bes ees aes > )
  a,\staccato < ges' ees' > ( < c ees ges > )

  
}

\score {
  \new PianoStaff <<
\new Staff = "right" \right
\new Staff = "left" { \clef bass \left }
  >>
  \layout { }
}
\version "2.16.2"

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

right = \relative c'' {
  \global
  
  g'4\sfp ) a,16 bes
  ces-1 bes cis d-1 g16. f32 f4 ees8~
  ees16 f ees\prall d ees f |
  <<
  { g b, c des ( c ) f ( e ) aes ( g ) des'-3 c g 
  \acciaccatura { g8 } bes4. aes4 g8 }
  
  
  \new Staff \with {
  \override TupletBracket #'bracket-visibility = ##f
  \override TupletNumber #'stencil = ##f
  \remove "Time_signature_engraver"
  alignAboveContext = #"right"
  fontSize = #-3
  \override StaffSymbol #'staff-space = #(magstep -3)
  \override StaffSymbol #'thickness = #(magstep -3)
  firstClef = ##f
 }
 { g32 [ b, c des  ]
   c [ f e a ]
   g [ des' c c ]
   \ottava #1
   c' [ b bes g ]
   \ottava #0
   e, [ c' b bes ]
   g [ e  des c ]
   des [ c b c ]
   \times 2/3 { e32 [ g bes ]
des [ c g ]
bes [ bes c ]
bes [ a bes ]
b [ c g ] }
   bes32\staccato ( a\staccato ) aes8.-> g16 } >>|
  f4.\trill \grace { e16 ( [ f ] } g8\staccato ) g ( d )
  ees4.-4 c-1 |

  
}

left = \relative c' {
  \global
  
  ees,8\staccato < g^5 ees'-2> ( < bes^4 ees^2 g-1 > )
  d,\staccato < g^5 ees'-2> ( < bes^4 ees^2 g-1 > )
  c,\staccato < g' e' > ( < c e g > )
  c,\staccato < g' e' > ( < c e bes' > )
  f,,\staccato < f' des' > ( < bes des e > )
  f,\staccato < f' c' > ( < aes c f > )
  bes,\staccato < f' d' > ( < bes d aes' > )
  b,\staccato < g' f' > ( < d' f g >)
  c,\staccato < g' ees' > ( < c ees g > )
  a,\staccato < ges' ees' > ( < c ees ges > )
  bes,\staccato < f' ees' > ( < bes ees aes > )
  a,\staccato < ges' ees' > ( < c ees ges > )

Re: Overlap markup

2013-10-10 Thread Keith OHara

EdBeesley  gmail.com> writes:

> Actually I managed to get it working with \combine and \lower. It's a bit
> 'hacky' though as you can see from the random spaces I had to put in:

> Out of curiosity I'd love to hear if there are 'cleaner' ways of doing
> it

Using \combine seems the cleanest way by far.
You have two words that fit together in a special way, and putting them
together in a \combine makes that fitting relationship more clear than
having back-spacing commands in between.

You can shift with a \translate, rather than use spaces, if you like:

\markup 
   \combine
  \fontsize #16 "Ýkjur" 
  \translate #'(21 . -4) \fontsize #7 "(Extreme Measures)"
%% using just the default markup font

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Re: Ossia - Documentation Recommendation

2013-10-10 Thread Eluze

Mark Stephen Mrotek wrote
> When the instructions for Ossia
> (http://www.lilypond.org/doc/v2.16/Documentation/notation/modifying-single-s
> taves#ossia-staves) are followed, a key signature is not included. This
> may
> be because all of the examples are in c major.

or because it's a new staff and not all the staves use the same key or clef?

> Perhaps the documentation could include a notation (see red below).

please feel free to suggest some text to add to the documentation!

Eluze



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Re: Overlap markup

2013-10-10 Thread SoundsFromSound

EdBeesley wrote
> Would you recommend exporting it as a graphic from Photoshop and putting
> it in that way?

Ed:

You don't need Photoshop, I'd say if you want to export something out of
LilyPond make it an SVG file. That way you can just use a free program like
Inkscape and take 3 seconds to drag whatever text you what, wherever!
Incredibly simple, albeit more work outside of LilyPond.


EdBeesley wrote
> Out of curiosity I'd love to hear if there are 'cleaner' ways of doing
> it

That said, you don't /need /to leave LilyPond for what you are trying to do,
but if you preferred to export /something/, I'd recommend SVG for sure over
anything else.

Vector graphics all the way!






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Re: ugly bar line when changing line-count

2013-10-10 Thread Eluze

Gilberto Agostinho-3 wrote
> I found what can possible be an "ugly issue" regarding the bar lines when
> changing the staff line-count. I might be wrong on this one, but shouldn't
> the first bar line in the example below cover the whole 5 lines?
> 
> Any thoughts on this?

that's probably arbitrary - try

\once \override Staff.BarLine.bar-extent = #'(-2 . 2)

somewhere in the 1st
  \stopStaff
  \startStaff
complex!

Eluze



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Re: Overlap markup

2013-10-10 Thread EdBeesley

Actually I managed to get it working with \combine and \lower. It's a bit
'hacky' though as you can see from the random spaces I had to put in:

\bookpart { 
  \markup 
{ 
\fill-line 
{ 
\column 
{ 
\raise #-8 
\center-align 
{ 
\fontsize #13 "Geir Rafnsson" 
\hspace #1 
\hspace #1 
\combine
\fontsize #16 \override #'(font-name .
"Aniron") "Ýkjur" 
\lower #6 \fontsize #7 "  (Extreme
Measures)" 

} 
} 
} 
} 
}


Out of curiosity I'd love to hear if there are 'cleaner' ways of doing
it



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Re: Overlap markup

2013-10-10 Thread David Kastrup

Martin Tarenskeen  writes:

> On Thu, 10 Oct 2013, EdBeesley wrote:
>
>> Or alternatively I could just start using 2.17, I'm assuming code written in
>> 2.16 won't compile in 2.17 without a bunch of changes?
>
> convert-ly

Most changes are backward-compatible.  As long as you are not messing
with low-level stuff, chances are that things will just work.  Of those
changes that are not backward-compatible, convert-ly will deal with a
reasonable number, but of course the converted files will then _require_
the new version.  So better keep an unconverted copy somewhere in case
you need to go back.

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Re: Overlap markup

2013-10-10 Thread Martin Tarenskeen




On Thu, 10 Oct 2013, EdBeesley wrote:


Or alternatively I could just start using 2.17, I'm assuming code written in
2.16 won't compile in 2.17 without a bunch of changes?


convert-ly

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Re: Overlap markup

2013-10-10 Thread EdBeesley

David Kastrup wrote
> Backspacing was not really convincingly supported before 2.17.19.  It's
> likely possible to get the desired result in 2.16 using \combine and
> \translate or other constructs, but it's not necessarily pretty.
> 
> -- 
> David Kastrup

Would you recommend exporting it as a graphic from Photoshop and putting it
in that way?

Or alternatively I could just start using 2.17, I'm assuming code written in
2.16 won't compile in 2.17 without a bunch of changes?





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Re: Overlap markup

2013-10-10 Thread David Kastrup

EdBeesley  writes:

> Sorry David, one of these days I'll remember to include that in my first
> post!
>
> 2.16.2

Backspacing was not really convincingly supported before 2.17.19.  It's
likely possible to get the desired result in 2.16 using \combine and
\translate or other constructs, but it's not necessarily pretty.

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Re: Overlap markup

2013-10-10 Thread EdBeesley


Version?

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Sorry David, one of these days I'll remember to include that in my first
post!

2.16.2



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Re: Overlap markup

2013-10-10 Thread David Kastrup

EdBeesley  writes:

> Jim, I'm afraid your example doesn't overlap on my 2.16, is this a change in
> 2.17?
>
>
> Ben...that is /exactly/ what I was looking for! How did you do it?!

Probably use 2.17.19 or later.

http://code.google.com/p/lilypond/issues/detail?id=3330>

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Re: Overlap markup

2013-10-10 Thread David Kastrup

EdBeesley  writes:

> Hi again everyone, I'm making a title page and I'd like one line of text to
> overlap another line (see attached png). However nothing I've tried (\raise
> or \translate) will force the text above the previous line. This is the code
> I'm using at the moment:
>
> \bookpart {

Version?

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Re: Overlap markup

2013-10-10 Thread EdBeesley

Jim, I'm afraid your example doesn't overlap on my 2.16, is this a change in
2.17?


Ben...that is /exactly/ what I was looking for! How did you do it?!



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Re: Overlap markup

2013-10-10 Thread Jim Long

On Thu, Oct 10, 2013 at 12:04:06PM -0700, EdBeesley wrote:
> Hi again everyone, I'm making a title page and I'd like one line of text to
> overlap another line (see attached png). However nothing I've tried (\raise
> or \translate) will force the text above the previous line. This is the code
> I'm using at the moment:
> 
> \bookpart {
>   \markup 
> { 
> \fill-line 
> { 
> \column 
> { 
> \raise #-8 
> \center-align 
> { 
> \fontsize #13 "Geir Rafnsson" 
> \hspace #1
> \hspace #1 
> \fontsize #16 \override #'(font-name .
> "Aniron") "??kjur" 
> \hspace #1
> \fontsize #7 "  (Extreme Measures)"
> 
> } 
> } 
> } 
> } 
> }

baseline-skip can go to zero, but has no effect beyond 0.  That
is, you can make them touch, but not overlap.

Negative \vspace is probably what you want:

\markup {
\fill-line {
\column \center-align {
\fontsize #13 "Geir Rafnsson"
\vspace #-1
\fontsize #7 "(Extreme Measures)"
} % column
} % fill-line
} % markup

Jim

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Re: Overlap markup

2013-10-10 Thread EdBeesley

Apologies...forgot to attach png

 



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Re: Overlap markup

2013-10-10 Thread SoundsFromSound

That may help do the trick Jim! 

Also Ed, I wasn't able to view that PNG you tried sending earlier (it was
over 1400px wide and I couldn't see what you were wanting).

Does my image look close to what you want?

Ben


Jim Long wrote
> I've got a longer answer for later when I have lilypond at hand,
> but have you tried \override #'(baseline-skip . 0)  ?
> 
> Jim
> 
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Ossia - Documentation Recommendation

2013-10-10 Thread Mark Stephen Mrotek

Hello:

 

When the instructions for Ossia
(http://www.lilypond.org/doc/v2.16/Documentation/notation/modifying-single-s
taves#ossia-staves) are followed, a key signature is not included. This may
be because all of the examples are in c major.

Perhaps the documentation could include a notation (see red below).

 

Mark Stephen Mrotek

 

\new Staff = main \relative c'' {

  c4 b d cd

  <<

{ c4 b d c }

 

\new Staff \with {

  \remove "Time_signature_engraver"

  alignAboveContext = #"main"

  fontSize = #-3

  \override StaffSymbol #'staff-space = #(magstep -3)

  \override StaffSymbol #'thickness = #(magstep -3)

  firstClef = ##f

}

{ %put key signature here

  e4 d f e }

  >>

  c4 b c2

}

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Re: Overlap markup

2013-10-10 Thread Jim Long

I've got a longer answer for later when I have lilypond at hand,
but have you tried \override #'(baseline-skip . 0)  ?

Jim

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Re: Overlap markup

2013-10-10 Thread SoundsFromSound

Ed:

Did you want something like this?

 


EdBeesley wrote
> Hi Ben yes sorry I should have attached that font to my message, if you've
> not found it yet then I've attached it to this one...
> anirb___.ttf
>   
> 
> anirm___.ttf
>   
> 
> SoundsFromSound wrote
>> I see you included
>> 
>> \fontsize #16 \override #'
*
>> (font-name . "Aniron")
*
>>  "Ýkjur"
>> 
>> in your code, but I haven't downloaded that font on my machine. It's
>> probably on dafont.com somewhere...I'll see if I can track it down so I
>> can visualize what you're after a bit more clearly.
>> 
>> I'll try to come up with something, let me play around with it.
>> 
>> Ben





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Re: Overlap markup

2013-10-10 Thread EdBeesley

Hi Ben yes sorry I should have attached that font to my message, if you've
not found it yet then I've attached it to this one...
anirb___.ttf
  
anirm___.ttf
  


SoundsFromSound wrote
> I see you included
> 
> \fontsize #16 \override #'
*
> (font-name . "Aniron")
*
>  "Ýkjur"
> 
> in your code, but I haven't downloaded that font on my machine. It's
> probably on dafont.com somewhere...I'll see if I can track it down so I
> can visualize what you're after a bit more clearly.
> 
> I'll try to come up with something, let me play around with it.
> 
> Ben





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Re: Overlap markup

2013-10-10 Thread SoundsFromSound

I see you included

\fontsize #16 \override #'*(font-name . "Aniron")* "Ýkjur"

in your code, but I haven't downloaded that font on my machine. It's
probably on dafont.com somewhere...I'll see if I can track it down so I can
visualize what you're after a bit more clearly.

I'll try to come up with something, let me play around with it.

Ben


EdBeesley wrote
> Hi again everyone, I'm making a title page and I'd like one line of text
> to overlap another line (see attached png). However nothing I've tried
> (\raise or \translate) will force the text above the previous line. This
> is the code I'm using at the moment:
> 
> \bookpart {
>   \markup 
> { 
> \fill-line 
> { 
> \column 
> { 
> \raise #-8 
> \center-align 
> { 
> \fontsize #13 "Geir Rafnsson" 
> \hspace #1
> \hspace #1 
> \fontsize #16 \override #'(font-name .
> "Aniron") "Ýkjur" 
> \hspace #1
> \fontsize #7 "  (Extreme Measures)"
> 
> } 
> } 
> } 
> } 
> }
> \bookpart {
> \score { 
>   \relative c'{
>   c d e f
> }
> }
> }
> 
> Help gratefully received!





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Re: Overlap markup

2013-10-10 Thread SoundsFromSound

Hi Ed,

FYI: the font in your PNG is nothing like that which I am seeing here on my
end with your code. When I input your code, I see no "place" for the line of
text to overlap /to /- the "Y" is inline with other letters of the word and
so I'm confused how you want to tuck the other line of text up there.

How are you going to get the PNG font in your LilyPond code, what's your
plan?

See attached image.

Ben

Overlap-Ben.jpg
  


EdBeesley wrote
> Hi again everyone, I'm making a title page and I'd like one line of text
> to overlap another line (see attached png). However nothing I've tried
> (\raise or \translate) will force the text above the previous line. This
> is the code I'm using at the moment:
> 
> \bookpart {
>   \markup 
> { 
> \fill-line 
> { 
> \column 
> { 
> \raise #-8 
> \center-align 
> { 
> \fontsize #13 "Geir Rafnsson" 
> \hspace #1
> \hspace #1 
> \fontsize #16 \override #'(font-name .
> "Aniron") "Ýkjur" 
> \hspace #1
> \fontsize #7 "  (Extreme Measures)"
> 
> } 
> } 
> } 
> } 
> }
> \bookpart {
> \score { 
>   \relative c'{
>   c d e f
> }
> }
> }
> 
> Help gratefully received!





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Overlap markup

2013-10-10 Thread EdBeesley

Hi again everyone, I'm making a title page and I'd like one line of text to
overlap another line (see attached png). However nothing I've tried (\raise
or \translate) will force the text above the previous line. This is the code
I'm using at the moment:

\bookpart {
  \markup 
{ 
\fill-line 
{ 
\column 
{ 
\raise #-8 
\center-align 
{ 
\fontsize #13 "Geir Rafnsson" 
\hspace #1
\hspace #1 
\fontsize #16 \override #'(font-name .
"Aniron") "Ýkjur" 
\hspace #1
\fontsize #7 "  (Extreme Measures)"

} 
} 
} 
} 
}
\bookpart {
\score { 
  \relative c'{
  c d e f
}
}
}

Help gratefully received!



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ugly bar line when changing line-count

2013-10-10 Thread Gilberto Agostinho

Hello all,

I found what can possible be an "ugly issue" regarding the bar lines when
changing the staff line-count. I might be wrong on this one, but shouldn't
the first bar line in the example below cover the whole 5 lines?

\version "2.17.28"

\relative c'' {

  f4 d g, e |

  \stopStaff

  \override Staff.StaffSymbol.line-count = #2

  \startStaff

   f'4 d g, e |

  \stopStaff

  \revert Staff.StaffSymbol.line-count

  \startStaff

   f'4 d g, e |

}


In this image, you can see the output above and what I think would look
better below:

http://s11.postimg.org/6f74ba0f7/barline.png


Any thoughts on this?


Regards,

Gilberto
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Re: Automatic generation of scores skeletons

2013-10-10 Thread Johan Vromans

Simon Bailey  writes:

> this sounds similar to reinhold kainhofer's orchestralily package:
> http://kainhofer.com/orchestrallily/

A quick glance on this impressive(!) project learns that it is about
maintaining scores and (horizontal) parts ( = voices ).

What I have in mind is imposing horizontal structure (bars, repeats) on
the vertical parts ( = movements ).

Maybe I should go for a proof-of-concept to make clear what's all about.

-- Johan

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Re: Problem with temporary polyphony

2013-10-10 Thread Peter Toye

Thanks Michael - I should investigate the blog more.

 
Regards,

Peter
mailto:lilyp...@ptoye.com
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Re: LilyPond version predictaes [was: Problems with LilyJAZZ.ily]

2013-10-10 Thread Urs Liska


Am 10.10.2013 11:34, schrieb Urs Liska:

...
OK, it's fixed now and extended by the other predicates:

https://github.com/openlilylib/snippets/blob/master/general-tools/lilypond-version-predicates.ily
Sorry, wrong link.




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LilyPond version predictaes [was: Problems with LilyJAZZ.ily]

2013-10-10 Thread Urs Liska


Thanks Harm for the report and Marc for the suggestion.

Actually when reading your first email I had already noticed and fixed 
the issue.
I'm somewhat frustrated how this could have happened. Originally I typed 
that function correctly and I would have sworn someone has modified it 
afterwards. Unfortunately the Git log shows that this 'someone' must 
have been me :-(


OK, it's fixed now and extended by the other predicates:
https://github.com/openlilylib/snippets/blob/master/general-tools/lilypond-version-predicates.ily 
 
and

https://github.com/openlilylib/snippets/blob/master/general-tools/lilypond-version-predicates-example.ly

I think this can be useful for any functions that should execute 
version-dependent code.
For example to make LilyJAZZ includable regardless of the run LilyPond 
version?


Best
Urs

Am 10.10.2013 08:51, schrieb Marc Hohl:

Am 10.10.2013 01:56, schrieb Thomas Morley:

2013/10/9 Urs Liska :
[...]


One more thing which might be useful for the technical issues you are
talking about:
I started a snippet to switch program execution based on the used 
LilyPond

version
https://github.com/openlilylib/snippets/blob/master/specific-solutions/lilypond-version-switch.ly 

Currently there is only one function 'lilypond-greater-than?' but I 
intend
to add equivalents to the other comparison operators. I think this 
approach
should allow you to make LilyJAZZ work with 2.16 and 2.17 at the 
same time?


HTH
Urs


Hi Urs,

your coding will not work.
Regard the results from:

2.12.3  -> 17
2.14.2  -> 18
2.16.2  -> 20
2.17.28 -> 47
seems to be ok,

though:

2.15.40 -> 57

You need to do a more detailed comparison.


Under the assumption that the last part of the version will never
exceed 99, why not go for

x.y.z -> (x*1000)+(y*100)+z

or, to be on the safe side for the next 300 years or so ;-)

x.y.z -> (x*10^6)+(y*10^3)+z

Just my 2ct

Marc


Cheers,
   Harm

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Re: New User Frescobaldi Setup for Mac

2013-10-10 Thread Davide Liessi

2013/10/10 Paul Morris :
> This is a familiar problem that tripped me up at first as well.  It's an
> easy fix.  Instead of pointing it to the LilyPond app:
> /Applications/LilyPond.app
>
> You need to point it here:
> /Applications/LilyPond.app/Contents/Resources/bin/lilypond

This problem has already been solved in the "development" version, so
it will disappear in 2.0.11.
In 2.0.11 you'll just need to point to the application bundle
(LilyPond.app, or whatever name you give it) and Frescobaldi will find
the LilyPond executable inside the bundle.
Moreover, if the LilyPond.app is in the default location
(/Applications/LilyPond.app), Frescobaldi will find it automatically
and you won't need to explicitly choose it in the preferences.

(Of course, pointing directly to the LilyPond binary inside the app
will still work, so you won't need to change the preferences you
already set.)

Best wishes.
Davide

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Re: Automatic generation of scores skeletons

2013-10-10 Thread Jacques Menu

Hello Johan,

Leave me a week or two to have a version I can make available.
Will keep you informed!

JM

Le 10 oct. 2013 à 08:22:32, Johan Vromans  a écrit :

> Jacques Menu  writes:
> 
>> After struggling with irregular bars, I've been working on a Python3 tool 
>> that
>> transforms a spec such as:
>> [...]
>> into a ready-to-compile Lilypond source file.
> 
> Very interesting. It reminds me of something I considered a while ago:
> a kind of meta-staff where the structure of the score is described
> (time/tempo, repeats, special \bar's, and so on). These would then apply
> to all the staffs automatically.
> 
> The rationale is that while a LilyPond score consists of horizontal
> staffs, it is in fact structured vertically and sometimes it has
> advantages to treat it as such. For example, using pseudo-LP:
> 
>  structure = {
>  A1
>  \repeat volta 2 {
> A2
>  }
>  \alternative{
> A21
> A22
>  }
>  A3
>  \bar "||"
>  A4
>  \bar ":|"
>  A5
>  }
>  A1 = { ... }
>  B1 = { ... }
>  C1 = { ... }
>  ... and so on ...
>  voiceA = { \A1 \A2 \A21 \A22 \A3 \A4 \A5 }
>  voiceB = { \B1 \B2 \B21 \B22 \B3 \B4 \B5 }
>  voiceC = { \C1 \C2 \C21 \C22 \C3 \C4 \C5 }
> 
> Much can be achieved with macro's, I know.
> 
> Can you give me a url for your tool?
> 
> Thanks,
> 
> -- Johan
> 
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Re: Automatic generation of scores skeletons

2013-10-10 Thread Simon Bailey

hi,

this sounds similar to reinhold kainhofer's orchestralily package:
http://kainhofer.com/orchestrallily/

i'm not sure if reinhold is still actively maintaining it, but it might
also be worth a look.

regards,
sb


On Thu, Oct 10, 2013 at 8:22 AM, Johan Vromans  wrote:

> Jacques Menu  writes:
>
> > After struggling with irregular bars, I've been working on a Python3
> tool that
> > transforms a spec such as:
> > [...]
> > into a ready-to-compile Lilypond source file.
>
> Very interesting. It reminds me of something I considered a while ago:
> a kind of meta-staff where the structure of the score is described
> (time/tempo, repeats, special \bar's, and so on). These would then apply
> to all the staffs automatically.
>
> The rationale is that while a LilyPond score consists of horizontal
> staffs, it is in fact structured vertically and sometimes it has
> advantages to treat it as such. For example, using pseudo-LP:
>
>   structure = {
>   A1
>   \repeat volta 2 {
>  A2
>   }
>   \alternative{
>  A21
>  A22
>   }
>   A3
>   \bar "||"
>   A4
>   \bar ":|"
>   A5
>   }
>   A1 = { ... }
>   B1 = { ... }
>   C1 = { ... }
>   ... and so on ...
>   voiceA = { \A1 \A2 \A21 \A22 \A3 \A4 \A5 }
>   voiceB = { \B1 \B2 \B21 \B22 \B3 \B4 \B5 }
>   voiceC = { \C1 \C2 \C21 \C22 \C3 \C4 \C5 }
>
> Much can be achieved with macro's, I know.
>
> Can you give me a url for your tool?
>
> Thanks,
>
> -- Johan
>
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Re: Problems with LilyJAZZ.ily

2013-10-10 Thread Jim Long

On Thu, Oct 10, 2013 at 01:40:06AM +0200, Thomas Morley wrote:
> 
> Hi,
> 
> this is another font and simply installing the font doesn't changes
> accidentals in chords with alterations.

True, I intentionally showed LilyPond's standard chordname
formatting.

I customize the look of my chord symbols with my personalized
version of Robert Schmaus' work:

% JAZZ CHORDS
% (based upon pop-chords.ly by James L. Hammons)
%
% v3.1

Robert's work does a good job of managing font sizes of
accidentals and other symbols, uses a lowercase 'm' for minor,
all that stuff.  And when it doesn't do what you want, it's easy
to modify.  I agree with other comments that the fact that
LilyJAZZText is a "small caps" font makes it unsuitable for
chordnames.  Using the lilyjazzchord font allows me to retain my
prefered lower case styling of "min", "dim" "aug", "add", "sus",
etc.

> Additionally LillyJAZZ.ily was updated with all recent improvements.

Thanks for managing the feedback and for fixing problems.  Is
there a URL?  A resolution to issue 3096 would be a welcome next
step.  Marc Hohl's workaround, jazzTempoMarkup, looks very nice,
but complicates rehearsal marks that occur at the same point as
tempo indications.

Jim

https://code.google.com/p/lilypond/issues/detail?id=3096

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Re: Problems with LilyJAZZ.ily

2013-10-10 Thread Marc Hohl


Am 10.10.2013 08:10, schrieb Martin Tarenskeen:



On Wed, 9 Oct 2013, Tim McNamara wrote:


Thanks for having a bash at that.  As a matter of taste, I think I
prefer not having the font's sharps and flats used in the chord names
because they look disproportionately large compared to the text,
whereas the default accidentals look fine to my eyes.  Also, the lack
of a lower case "m" in the font has confused my horn players so I use
"-" instead of "m" in minor chords.



Hi,

I'm following this discussion from a distance. I am not a Jazz musician
and have always wondered why Jazz musicians prefer computer-engraved
sheet music that tries to look like it is hand written. My brother is a
jazz composer/arranger who uses Finale and who always uses Finale's
jazzfont for his compositions.

Is it just a tradition, and something jazz musicians feel familiar and
comfortable with while writing and reading music? Or is a Jazzfont
*really* easier to read on stage?


I think the chord names are easier to read with that font, but a bold
version of a text font will work as well (LilyPonds default and the
fonts used in guitar song books would not work quite well).

Apart from that it is merely a habit. I found out that I am irritated
to find a H-7 (the german B minor 7) in a Jazz score, but have no
problems playing a Hm7 in a songbook, so it is probably some kind of
context dependency.
(As a side note: I can read the bass clef much faster when I have a
bass guitar on the strap. Trying to identify the notes with a
guitar at hand feels unfamiliar and thus takes more time).

Just my personal experience, but this is an interesting topic for sure


It would be interesting to do scientific research in what way a music
font can influence the way we read music: reading speed, number of
errors when sight-reading, things like that.


There is an interesting attempt for a slanted music font called 'Musica 
presto' by Hermann Zapf sketched in 1938 that should mimic the speed of

the piece by having slanted clefs, stems etc.
I assume the second world war prevented further work in this direction,
but the specimens look interesting.


Maybe it could even be possible to design a music font that improves the
reading skills for people who have always had trouble to read music.
Something comparable to that special text font that was designed for
people with dyslexia: http://www.studiostudio.nl/en/information/


This would imply a lot of testing in real-world conditions.
But the idea is promising ;-)

Marc


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