RE: Third Voice?

[Chris Crossen]

>> I am engraving the Hallelujah Chorus from Handel's Messiah. There is 
>> one measure (87) where I think I need a third voice in the treble 
>> clef. I have attached an image of measure 87. The red-underlined notes 
>> in the image are what is missing when I render my Lilypond. A cut down 
>> version of my source for just measure 87 is below.
>> 
>> I believe I need a third voice for the missing 8th and 16th notes, but 
>> I don't know how to structure it. My Lilypond is using a template from 
>> Frescobaldi.
>> 
>> Can someone show me how to add the third voice?

>third or fourth voice - Lilypond treats odd voices as voice with stem and
other properties going upwards!
>
>so in my code I handle the additional voice as \voiceFour and also name it
like that:

Thank you, Eluze. Do I have to create measures with "s1" for the other
measures of the fourth voice?


>I would consider upgrading to the newest version!

>Eluze


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Re: Third Voice?

[Eluze]

Chris Crossen wrote
> I am engraving the Hallelujah Chorus from Handel's Messiah. There is one
> measure (87) where I think I need a third voice in the treble clef. I have
> attached an image of measure 87. The red-underlined notes in the image are
> what is missing when I render my Lilypond. A cut down version of my source
> for just measure 87 is below.
> 
> I believe I need a third voice for the missing 8th and 16th notes, but I
> don't know how to structure it. My Lilypond is using a template from
> Frescobaldi.
> 
> Can someone show me how to add the third voice?

third or fourth voice - Lilypond treats odd voices as voice with stem and
other properties going upwards!

so in my code I handle the additional voice as \voiceFour and also name it
like that:

\version "2.14.2"
\include "english.ly"
global = {
  \key d \major
  \numericTimeSignature
  \time 4/4
  \autoBeamOff
}
rightOne = \relative c'' {
  \voiceOne
  \global
  % -- t1-87
  s4 fs8[ e8] e4. d8 |
}
rightTwo = \relative c''{
  \voiceTwo
  % -- t2-87
  s2 a8 a16 a a8 a |
}
rightFour = \relative c' {
  \voiceFour
  % -- t2-87
  4  4 d4 cs4 |
}
leftOne = \relative c' {
  % -- b1-87
  e4 a,2 e'4 |
}
leftTwo = \relative c {
  % -- b2-87
  e4 d8[ d8] a'2 |
}
pianoPart = \new PianoStaff \with {
  } <<
  \new Staff = "right"  <<
\rightOne
\\
\rightTwo
\\
\rightFour
  >>
  \new Staff = "left" {
\clef bass <<
  \leftOne
  \\
  \leftTwo
>>
  }
>>
\score {
  <<
\pianoPart
  >>
}


I would consider upgrading to the newest version!

Eluze



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Re: Please help

[Thomas Morley]

2013/11/30 David Kastrup :
> Thomas Morley  writes:
>
>> 2013/11/29 Mateusz Goździewski 
>>
>>> How I need to enter the code to get this effect:
>>> [image: Obraz w treści 1]or this
>>> [image: Obraz w treści 2]
>>
>> how about:
>>
>> \version "2.17.95"
>>
>> alternativeKey =
>> #(define-music-function (parser location p-1 p-2)(ly:pitch? ly:pitch?)
>
>>{ \key $p-2 \major s4 }
>
> [...]
>
> Any reason you don't put the \major as last function argument (see
> definition of \key in scm/music-functions-init.ly for an example how
> this works)?  Looks less ad-hoc.

An oversight. :)
Was already working on it, as I noticed your reply.

> Possibly also as second function
> argument.  That's likely redundant for most use cases, but makes the
> function call look less cryptic.
>
>> Thanks David Kastrup for his improved \score-markup-command.
>
> That remark makes it likely that for versions before 2.17.14 you'll not
> be able to get consistent vertical positions with this approach.
> I think there were some pointers to the LSR in this thread as well:
> maybe there is some different approach working for older versions among
> it.

I made a short test with 2.16.2. Looks weird.
Not sure wether there's any way with older versions, have to test.

>
> All the best
>
> --
> David Kastrup

Below the newest code, also making it more robust in case no
KeySignature is ptinted (a\minor, c\major). The other scales (ionian,
etc) are not yet implemented, should work for most use cases though.

\version "2.17.95"

alternativeKey =
#(define-music-function (parser location p-1 p-2 scale-def)
 (ly:pitch? ly:pitch? list?)
#{
  \override Staff.KeySignature #'stencil =
   #(lambda (grob)
  (let* ((staff-space (ly:staff-symbol-staff-space grob))
 (line-thickness (ly:staff-symbol-line-thickness grob))
 (th line-thickness)
 (default-stil (ly:key-signature-interface::print grob))
 ;; To avoid programming error @code{(markup #:null)} is returned if
 ;; the scale would not result in printed KeySignature.
 ;; TODO: add the other scales: ionian, locrian etc
 (stil-to-add
   (grob-interpret-markup grob
 (if (or (and (= (ly:pitch-notename p-2) 5)
  (eq? scale-def minor))
 (and (= (ly:pitch-notename p-2) 0)
  (eq? scale-def major)))
 (markup #:null)
 #{
   \markup
 \score {
   { \key $p-2 $scale-def }
   \layout {
 \override Staff.TimeSignature #'stencil = ##f
 \override Staff.Clef #'stencil = ##f
 \override Staff.StaffSymbol #'line-count = #0
 indent = 0
   }
   }
 #})
 ))
 (stil-to-add-x-ext (ly:stencil-extent stil-to-add X))
 (stil-to-add-y-ext (ly:stencil-extent stil-to-add Y))
 )
(if (< 0 (interval-length stil-to-add-x-ext))
(if (or (and (= (ly:pitch-notename p-1) 5)
 (eq? scale-def minor))
(and (= (ly:pitch-notename p-1) 0)
 (eq? scale-def major)))
(bracketify-stencil
  (ly:make-stencil
(ly:stencil-expr stil-to-add)
;; left bracket is to far away
;; trimmed a little
(cons
   (+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
   (cdr stil-to-add-x-ext))
;; adjusting the top and bottom ending of the bracket
(cons
   (+ (car stil-to-add-y-ext) (* 0.2 staff-space))
   (- (cdr stil-to-add-y-ext) (* 0.5 staff-space
  Y th (* 2.5 th) th)
(ly:stencil-combine-at-edge
  default-stil
  X
  RIGHT
  (bracketify-stencil
(ly:make-stencil
  (ly:stencil-expr stil-to-add)
  ;; left bracket is to far away
  ;; trimmed a little
  (cons
 (+ (car stil-to-add-x-ext) (* 0.7 staff-space) )
 (cdr stil-to-add-x-ext))
  ;; adjusting the top and bottom ending of the bracket
  (cons
 (+ (car stil-to-add-y-ext) (* 0.2 staff-space))
 (- (cdr stil-to-add-y-ext) (* 0.5 staff-space
Y th (* 2.5 th) th)
1))
  default-stil)))

  \key $p-1 $scale-def
#})

%%
% EXAMPLES
%%

\relative c' {
\alternativeKey c f \major
c1
\alternativeKey b c \major
c
\alternativeKey e ees \major

Re: Please help

[David Kastrup]

Thomas Morley  writes:

> 2013/11/29 Mateusz Goździewski 
>
>> How I need to enter the code to get this effect:
>> [image: Obraz w treści 1]or this
>> [image: Obraz w treści 2]
>
> how about:
>
> \version "2.17.95"
>
> alternativeKey =
> #(define-music-function (parser location p-1 p-2)(ly:pitch? ly:pitch?)

>{ \key $p-2 \major s4 }

[...]

Any reason you don't put the \major as last function argument (see
definition of \key in scm/music-functions-init.ly for an example how
this works)?  Looks less ad-hoc.  Possibly also as second function
argument.  That's likely redundant for most use cases, but makes the
function call look less cryptic.

> Thanks David Kastrup for his improved \score-markup-command.

That remark makes it likely that for versions before 2.17.14 you'll not
be able to get consistent vertical positions with this approach.
I think there were some pointers to the LSR in this thread as well:
maybe there is some different approach working for older versions among
it.

All the best

-- 
David Kastrup

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Re: film score example

[Urs Liska]

Am 30.11.2013 00:37, schrieb Urs Liska:
It should be very easy to write commands that combine note names in 
the default text font with accidentals from LilyPond while having 
complete control about scaling and placement is provided.


For example, a quick shot

\documentclass{article}
\usepackage{fontspec}
\usepackage{lilyglyphs}
\begin{document}
\fontspec{Linux Libertine O}
\newcommand*{\notesymbol}[2]{#1\hspace{0.25ex}#2[scale=1.1,raise=0.1]{}}
This will be played by a \notesymbol{B}{\flat} clarinet.
\end{document}

gave the attached example.
This is (as said) a quick shot, and it could easily be extended to be 
made more versatile or parametrical.


Feel free to join and add this as an additional section to lilyglyphs :-)

Urs
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Re: film score example

[Urs Liska]

Am 30.11.2013 00:09, schrieb Janek Warchoł:

I would also sponsor a solution for using this text accidental in
> lilypond-book.

I totally recommend using LilyGlyphs!  Their added advantage is that
they are already implemented - you can send money to Urs right away,
he deserves it!:-)


Maybe I  deserve it, certainly I could use it - but I didn't ask for it.
What would be even more useful is
- users
- feedback
- contribution.

lilyglyphs is very prone to contribution because one major task in 
development is simply increasing symbol coverage, which is rather 
trivial (although the explanation in the manual is rather lengthy).


It should be very easy to write commands that combine note names in the 
default text font with accidentals from LilyPond while having complete 
control about scaling and placement is provided.
The only limitation is that it requires fontspec and thus can only be 
used with LuaLaTeX and XeLaTeX. Which for many probably isn't a limitation.


Have a look at
http://lilypondblog.org/2013/09/using-musical-symbols-in-text-documents/
and maybe http://lilypondblog.org/2013/09/extending-lilyglyphs-part-1/
to get an impression if it could be for you.

HTH
Urs
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text accidentals [was Re: film score example]

[Josiah Boothby]

To clarify:

> >> > Would you like to sponsor this?  For $20 i could add special
> >> > accidentals to LilyPond font and adjust \flat, \sharp and
> >> > \natural commands to use them (and maybe others like \semiflat,
> >> > if i'll have time).
> >>
> >> Why not use the Unicode charpoints, like B♭, F♯ and so on?  They
> >> are _supposed_ to go well with the text font and kern properly.
> >
> > I would gladly sponsor this, and have thought for a long time that
> > E\flat should not in most cases require any additional effort (much
> > less the considerable extra effort it currently requires) to look
> > correct.
> 
> It's great that you're willing to sponsor!
> But, as your reply is below David's quoted message about Unicode
> accidentals, i'm not sure what you'd like to sponsor - could you
> clarify?
> Unicode accidentals are supported now, but as i already wrote, they
> look horrible in my opinon.

I am interested in accidentals being usable in text markups in the form
of \flat or \sharp, preferably including microtones and
double-accidentals. I'll define "usable" here as being of a size and
placement that is visually balanced and pleasing. It's possible that
the best place to put them is in the music symbols charpoints of the
LilyPond fonts and draw from them as needed; I think this is what David
has suggested, but I know next to nothing about fonts from this angle.
In fact, I can't say I'm particularly picky about the mechanics of how
to make this work since this is so far outside of my areas of expertise.

If other folks are interested in joining in on the sponsorship, I don't
object to help, but how do you prefer payment?

> > I would also sponsor a solution for using this text accidental in
> > lilypond-book.
> 
> I totally recommend using LilyGlyphs!  Their added advantage is that
> they are already implemented - you can send money to Urs right away,
> he deserves it! :-)

Looking into it :)

—J

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Re: How to hide time signature

[David Kastrup]

Robert Schmaus  writes:

> Watch out for the correct version - your code is 2.16 but the manual
> is 2.17, and a lot has changed between those versions. I'm not even
> sure if the "\omit" command actually existed in 2.16. I also think,
> the C-style "dot-notation" didn't existin 2.16.
>
> And one more thing: there's a difference in spacing between *hiding*
> and *removing* something ... make sure you use the right one.

You are right with all of that.  But:

> Am 29/11/13 19:24, schrieb Marcos Press:
>> Try here:
>>
>> http://lilypond.org/doc/v2.17/Documentation/notation/visibility-of-objects.html

It's actually sufficient to replace v2.17 with v2.16 in that URL to get
the visibility information for 2.16.  And comparing the two makes
obvious how LilyPond gets nicer to use with every version...

-- 
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Re: film score example

[Janek Warchoł]

Hi,

2013/11/29 Josiah Boothby :
> On Fri, 29 Nov 2013 15:45:33 +0100
> David Kastrup  wrote:
>
>> Janek Warchoł  writes:
>>
>> > Would you like to sponsor this?  For $20 i could add special
>> > accidentals to LilyPond font and adjust \flat, \sharp and \natural
>> > commands to use them (and maybe others like \semiflat, if i'll have
>> > time).
>>
>> Why not use the Unicode charpoints, like B♭, F♯ and so on?  They are
>> _supposed_ to go well with the text font and kern properly.
>
> I would gladly sponsor this, and have thought for a long time that
> E\flat should not in most cases require any additional effort (much
> less the considerable extra effort it currently requires) to look
> correct.

It's great that you're willing to sponsor!
But, as your reply is below David's quoted message about Unicode
accidentals, i'm not sure what you'd like to sponsor - could you
clarify?
Unicode accidentals are supported now, but as i already wrote, they
look horrible in my opinon.

> I would also sponsor a solution for using this text accidental in
> lilypond-book.

I totally recommend using LilyGlyphs!  Their added advantage is that
they are already implemented - you can send money to Urs right away,
he deserves it! :-)

best,
Janek

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Re: film score example

[Janek Warchoł]

2013/11/29 David Kastrup :
> Janek Warchoł  writes:
>> What do you think about \at function that David wrote?
>> (see snippet here
>> https://github.com/openlilylib/snippets/tree/master/input-shorthands/articulations-not-aligned-with-notes)
>> The syntax is a bit awkward, but this function already does exactly
>> what we want: allows to insert dynamics and other things in the middle
>> of the note's duration.  I think it's very nice.
>
> Unless you have a full score with filling material, it's not all that
> helpful without solving issue 3232
> http://code.google.com/p/lilypond/issues/detail?id=3232>.  The
> original issue in the original description, of course.

I'll take a look at it again, but i don't think it's a serious
showstopper.  The first thing to do is to get the right semantic
construct, and \at provides this (i.e. it allows to enter some objects
at given musical time).  Making it display perfectly is another issue.

>> Would you like to sponsor this?  For $20 i could add special
>> accidentals to LilyPond font and adjust \flat, \sharp and \natural
>> commands to use them (and maybe others like \semiflat, if i'll have
>> time).
>
> Why not use the Unicode charpoints, like B♭, F♯ and so on?  They are
> _supposed_ to go well with the text font and kern properly.

because *we* have the most beautiful musical font in the world? ;-)
I've looked at the output of
\markup { B♭ F♯ }
and it is *hideous* (see attached).  Totally unusable.


2013/11/29 Joseph Rushton Wakeling :
> On 29/11/13 15:34, Janek Warchoł wrote:
>> Would you like to sponsor this?  For $20 i could add special
>> accidentals to LilyPond font and adjust \flat, \sharp and \natural
>> commands to use them (and maybe others like \semiflat, if i'll have
>> time).
>
> Yup, sure.  How do I go about sending you the money?

If you have aa bank account in EU, SEPA transfer will be best.  If
not, probably PayPal - but we'll talk about details after i've
finished :)
Initial tests confirm that it shouldn't be too hard, but i'll probably
have to clean up accidentals metafont code, which will take extra
time... :-/

> Actually, I wonder if rather than special glyphs, it might be better to have
> a function like \pitchText which takes a Lilypond pitch and transforms it
> into an optimized textual form: so e.g. \pitchText{bf} or \pitchText{fs} or
> whatever. (I'm using English note-names here.)

Hmm.  IMO, we should first fix \flat, \sharp and \natural and then
think about writing such function (since it would use these commands).

best,
Janek
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Re: Supporting my work on LilyPond financially

[Janek Warchoł]

Hi,

2013/11/29 David Kastrup :
> There is still a lot LilyPond is in need of doing, I am pretty positive
> that 2.18 will be out before Christmas, and I am responsible for a large
> part of the developments even though the majority of contributions and
> of organizational tasks and efforts and translation work and user help
> and so on is done by volunteers working in their spare time.
>
> But one person who just works on LilyPond can make a difference.  Can we
> keep this up?

To anyone who's not very familiar with the current situation and would
like to get an idea about how important David's work is for LilyPond:
i suggest to look at the list of fixed issues since last stable
release:
http://code.google.com/p/lilypond/issues/list?can=1&q=status%3AVerified&colspec=ID%20Type%20Status%20Stars%20Owner%20Patch%20Needs%20Summary&num=550&start=0
As you can see, it appears that David (d...@gnu.org) is doing abou
as much as the rest of the development team combined!

best,
Janek

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Re: How to hide time signature

[Mr. Server Acim]

On 11/29/2013 08:45 PM, magohq wrote:

\version "2.16.2"


global = {
   \set Score.timing = ##f
   \override Staff.TimeSignature #'stencil = ##f
}


\new Staff \relative c' {\global
 c4 d e f g c d f g \bar "||"
   }



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Thank you for your answer. But, I want to add the shortage of "Whole 
step" with "W" letter "between the C note and D note under the notes. I 
mean that the "W" letter must be between two notes. Not under of C note 
of D note. How can I do that?


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- İnönü Üniversitesi Öğretim Üyesi (Full Professor of Music Composition at 
Inonu Universitesi - Malatya - TURKEY)
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Re: film score example

[Urs Liska]

Am 29.11.2013 21:19, schrieb Josiah Boothby:

I would also sponsor a solution for using this text accidental in
lilypond-book.
If you're after using notation elements in LaTeX (Lua- or Xe- only) you 
may also have a look at http://www.ctan.org/pkg/lilyglyphs


Urs

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Re: film score example

[Josiah Boothby]

On Fri, 29 Nov 2013 15:45:33 +0100
David Kastrup  wrote:

> Janek Warchoł  writes:
> 
> > Would you like to sponsor this?  For $20 i could add special
> > accidentals to LilyPond font and adjust \flat, \sharp and \natural
> > commands to use them (and maybe others like \semiflat, if i'll have
> > time).
> 
> Why not use the Unicode charpoints, like B♭, F♯ and so on?  They are
> _supposed_ to go well with the text font and kern properly.

I would gladly sponsor this, and have thought for a long time that
E\flat should not in most cases require any additional effort (much
less the considerable extra effort it currently requires) to look
correct. 

I would also sponsor a solution for using this text accidental in
lilypond-book. 

—Josiah

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Re: How to hide time signature

[Robert Schmaus]

Watch out for the correct version - your code is 2.16 but the manual is 
2.17, and a lot has changed between those versions. I'm not even sure if 
the "\omit" command actually existed in 2.16. I also think, the C-style 
"dot-notation" didn't existin 2.16.


And one more thing: there's a difference in spacing between *hiding* and 
*removing* something ... make sure you use the right one.


Best,
Robert




Am 29/11/13 19:24, schrieb Marcos Press:

Try here:

http://lilypond.org/doc/v2.17/Documentation/notation/visibility-of-objects.html


2013/11/29 Mr. Server Acim mailto:servera...@ttmail.com>>

Hello,
We are writing a book about Harmony with my friend. At the begining
chapter we will give basic music theory knowledges.
I am trying to write a C Major Scale. The letters between the notes
are the step extentions.
I want to hide the Time Signature (8/1). But I can not.

You will see the code in the attached files.

Thank you.

--
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Composition at Inonu Universitesi - Malatya - TURKEY)
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Re: How to hide time signature

[magohq]

\version "2.16.2"


global = {  
  \set Score.timing = ##f
  \override Staff.TimeSignature #'stencil = ##f  
}


\new Staff \relative c' {\global
c4 d e f g c d f g \bar "||"
  } 



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Re: How to hide time signature

[magohq]

\version "2.16.2"


global = {  
  \set Score.timing = ##f
  \override Staff.TimeSignature #'stencil = ##f  
}


\new Staff \relative c' {\global
c4 d e f g c d f g \bar "||"
  }



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Re: Please help

[magohq]

But how to do that all of these flats was in one parenthesis.



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Re: Please help

[magohq]

But how to do that all of these flats was in one parenthesis.



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Re: How to hide time signature

[Marcos Press]

Try here:

http://lilypond.org/doc/v2.17/Documentation/notation/visibility-of-objects.html


2013/11/29 Mr. Server Acim 

> Hello,
> We are writing a book about Harmony with my friend. At the begining
> chapter we will give basic music theory knowledges.
> I am trying to write a C Major Scale. The letters between the notes are
> the step extentions.
> I want to hide the Time Signature (8/1). But I can not.
>
> You will see the code in the attached files.
>
> Thank you.
>
> --
> Server ACİM
> - Besteci (Composer)
> - İnönü Üniversitesi Öğretim Üyesi (Full Professor of Music Composition at
> Inonu Universitesi - Malatya - TURKEY)
> - Linux Mint Kullanıcısı ve Destekçisi (Linux Mint User and Supporter)
>
> http://google.com/+ServerAcim
> http://about.me/server.acim
>
>
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How to hide time signature

[Mr. Server Acim]

Hello,
We are writing a book about Harmony with my friend. At the begining 
chapter we will give basic music theory knowledges.
I am trying to write a C Major Scale. The letters between the notes are 
the step extentions.

I want to hide the Time Signature (8/1). But I can not.

You will see the code in the attached files.

Thank you.

--
Server ACİM
- Besteci (Composer)
- İnönü Üniversitesi Öğretim Üyesi (Full Professor of Music Composition at 
Inonu Universitesi - Malatya - TURKEY)
- Linux Mint Kullanıcısı ve Destekçisi (Linux Mint User and Supporter)

http://google.com/+ServerAcim
http://about.me/server.acim

\version "2.16.0"
\paper{
indent=0\mm
line-width=120\mm
oddFooterMarkup=##f
oddHeaderMarkup=##f
bookTitleMarkup = ##f
scoreTitleMarkup = ##f
}

%%
\score {
  \relative c'  
  <<
\new Staff {
  <<
\new Voice \with { 
 \remove "Time_signature_engraver"
  \consists "Mark_engraver"
  \consists "Staff_collecting_engraver"
  
}
{ \time 8/1
  c1^"Do Majör Dizi (DoM)"
  
  d e f g a b c
  \bar "|."
}
\new Voice \with {
  \remove "Time_signature_engraver"
  \consists "Mark_engraver"
  \consists "Staff_collecting_engraver"
  \override RehearsalMark #'direction = #DOWN
  
  }
{ \time 8/1
  s4 s s s
  \mark \markup { \circle T }
  s4 s s s
  \mark \markup { \circle T }
  s4 s s s
  \mark \markup { \circle Y }
  s4 s s s
  \mark \markup { \circle T }
  s4 s s s
  \mark \markup { \circle T }
  s4 s s s
  \mark \markup { \circle T }
  s4 s s s
  \mark \markup { \circle Y }   
}
  >>
}
  >>
  \layout {
\context {  
  \Score
  \remove "Bar_number_engraver"
  \remove "Mark_engraver"
  \remove "Staff_collecting_engraver"
  \remove "Time_signature_engraver"
  
}
  }
}





%%
% Aşağıdaki kodlara dokunma. Aşağıdaki kodlar, ölçü birimini kaldırıyor çünkü.
%\layout {
  %#(set-global-staff-size 14)
  %\context {
 %\Staff
 %\Voice
  % \remove "Time_signature_engraver"
  % \remove "Bar_number_engraver"
  % \remove "Separating_line_group_engraver"
  % \remove "Mark_engraver"
  % \remove "Staff_collecting_engraver"
  % \override RehearsalMark #'direction = #DOWN
  % }
%}
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Re: Please help

[Marcos Press]

You can start here:

http://www.lilypond.org/doc/v2.17/Documentation/notation/displaying-pitches.html#key-signature



2013/11/29 Ryan McClure 

> If you try this, you can get a key signature close to what you need...I'm
> unsure how to add brackets around the flats, though.
>
> \set Staff.keySignature = #`(((0 . 10) . ,SHARP)
>((0 . 7) . ,SHARP)
>((0 . 11) . ,SHARP)
>((0 . 8) . ,SHARP)
>((0 . 6) . ,FLAT)
>((0 . 9) . ,FLAT)
>((0 . 5) . ,FLAT))
>
>
>
> -
> Ryan McClure
>
> Luna Music Engraving
> www.lunamusicengraving.com
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Re: Please help

[Ryan McClure]

If you try this, you can get a key signature close to what you need...I'm
unsure how to add brackets around the flats, though.  

\set Staff.keySignature = #`(((0 . 10) . ,SHARP)
   ((0 . 7) . ,SHARP)
   ((0 . 11) . ,SHARP)
   ((0 . 8) . ,SHARP)
   ((0 . 6) . ,FLAT)
   ((0 . 9) . ,FLAT)
   ((0 . 5) . ,FLAT))



-
Ryan McClure

Luna Music Engraving
www.lunamusicengraving.com
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Re: Please help

[magohq]

Yes, I want to enter a double key signature.



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Re: film score example

[Joseph Rushton Wakeling]

On 29/11/13 15:45, David Kastrup wrote:

Why not use the Unicode charpoints, like B♭, F♯ and so on?  They are
_supposed_ to go well with the text font and kern properly.


Should fit nicely with the idea of a \textPitch function I floated in the other 
email.  Are there any international-note-names issues that need to be taken into 
account with this approach, though?



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Re: film score example

[Joseph Rushton Wakeling]

On 29/11/13 15:34, Janek Warchoł wrote:

What do you think about \at function that David wrote?
(see snippet here
https://github.com/openlilylib/snippets/tree/master/input-shorthands/articulations-not-aligned-with-notes)
The syntax is a bit awkward, but this function already does exactly
what we want: allows to insert dynamics and other things in the middle
of the note's duration.  I think it's very nice.


Not familiar with it.  Will check it out and see how it goes -- thanks! :-)


Thanks to David's work on issue 3330
(http://code.google.com/p/lilypond/issues/detail?id=3330) the spacing
between B and flat symbol is better since 2.17.19 (see attached).  Of
course, the accidental still has wrong size and baseline - i think i
could handle that by creating special versions of accidentals for use
with text (see 
http://lists.gnu.org/archive/html/lilypond-devel/2011-09/msg00353.html).

Would you like to sponsor this?  For $20 i could add special
accidentals to LilyPond font and adjust \flat, \sharp and \natural
commands to use them (and maybe others like \semiflat, if i'll have
time).


Yup, sure.  How do I go about sending you the money?

Actually, I wonder if rather than special glyphs, it might be better to have a 
function like \pitchText which takes a Lilypond pitch and transforms it into an 
optimized textual form: so e.g. \pitchText{bf} or \pitchText{fs} or whatever. 
(I'm using English note-names here.)


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Re: position of footer

[Hanno]

Hi,

ich weiß nicht, ob du Zeit (und Lust) für meine folgende Anfrage hast:

Ich bin auf der Suche nach einer LilyPond-Funktion, mit der ich im Titel die
Tonart in Textform ausgeben kann. Derzeit schreibe ich das immer von Hand
ins subtitle-Feld, vergesse dann aber immer mal, diesen Eintrag nach dem
Transponieren zu ändern ...

Auf dich bin ich aufmerksam geworden, weil du in deinem Forumsbeitrag 

(May 31, 2012; 3:51pm, position of footer,
http://lilypond.1069038.n5.nabble.com/position-of-footer-td50073.html)

eine entsprechende Funktion verwendet zu haben scheinst. Ich habe das aber
auch nach längerem Herumprobieren nicht nachbauen können und wollte dich
fragen, ob du mir diesbezüglich kurz auf die Sprünge helfen könntest ...

Ich bin noch noch wirklich lange mit LilyPond aktiv, habe aber schon einige
halbwegs komplexe Sachen hinbekommen.


Bitte entschuldige, falls diese Mail dich nerven sollte,
und Danke schonmal für dein Verständnis und die eventuelle Hilfe,

Hanno.

_
Sent from http://lilypond.1069038.n5.nabble.com





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Re: Custom key signature stencils, differentiating major and minor keys

[Hanno]

Hi,

looks like great work in my beginner's eyes!

I'm looking for a way to include the key in my title,
because currently I write this manually into the subtitle-field
and keep forgetting to change this after transposing.

Any hint would be welcome,
greetings!



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Re: film score example

[David Kastrup]

Janek Warchoł  writes:

> Hi,
>
> 2013/11/29 Joseph Rushton Wakeling :
>> Hairpins that don't begin or end with a notehead or rest are such a typical
>> musical notation, so easy to do by hand or with a WYSIWYG score editor, and
>> really annoying and finnicky to do with Lilypond.
>
> What do you think about \at function that David wrote?
> (see snippet here
> https://github.com/openlilylib/snippets/tree/master/input-shorthands/articulations-not-aligned-with-notes)
> The syntax is a bit awkward, but this function already does exactly
> what we want: allows to insert dynamics and other things in the middle
> of the note's duration.  I think it's very nice.

Unless you have a full score with filling material, it's not all that
helpful without solving issue 3232
http://code.google.com/p/lilypond/issues/detail?id=3232>.  The
original issue in the original description, of course.

> Would you like to sponsor this?  For $20 i could add special
> accidentals to LilyPond font and adjust \flat, \sharp and \natural
> commands to use them (and maybe others like \semiflat, if i'll have
> time).

Why not use the Unicode charpoints, like B♭, F♯ and so on?  They are
_supposed_ to go well with the text font and kern properly.

-- 
David Kastrup


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Re: film score example

[Janek Warchoł]

Hi,

2013/11/29 Joseph Rushton Wakeling :
> Hairpins that don't begin or end with a notehead or rest are such a typical
> musical notation, so easy to do by hand or with a WYSIWYG score editor, and
> really annoying and finnicky to do with Lilypond.

What do you think about \at function that David wrote?
(see snippet here
https://github.com/openlilylib/snippets/tree/master/input-shorthands/articulations-not-aligned-with-notes)
The syntax is a bit awkward, but this function already does exactly
what we want: allows to insert dynamics and other things in the middle
of the note's duration.  I think it's very nice.

>> - The alignment of the flat sign in text markup like "Clarinet in Bb" is
>> difficult.  I gave up on this one because the approach to make it
>> look right felt too  hard-coded.
>
> I "solved" this in some scores by defining an entity \Bflat that was the B
> combined with the flat sign in the right relative position and size.
> Imperfect but doable.

Thanks to David's work on issue 3330
(http://code.google.com/p/lilypond/issues/detail?id=3330) the spacing
between B and flat symbol is better since 2.17.19 (see attached).  Of
course, the accidental still has wrong size and baseline - i think i
could handle that by creating special versions of accidentals for use
with text (see 
http://lists.gnu.org/archive/html/lilypond-devel/2011-09/msg00353.html).

Would you like to sponsor this?  For $20 i could add special
accidentals to LilyPond font and adjust \flat, \sharp and \natural
commands to use them (and maybe others like \semiflat, if i'll have
time).

best,
Janek
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Re: film score example

[Joseph Rushton Wakeling]

On 13/09/13 05:54, Curt wrote:

- Hairpins are surprisingly difficult.  Most instruments do not have a natural
decay, so hairpins don't necessarily start or end right at the note
boundaries.  It's necessary to use "fake voices" in these cases.  Even
with this, it didn't support having a decrescendo end at the Fine bar -
I had to make it end at a note value before the Fine bar.  And
if you have ties over these fake voices, you have to know about
\set tieWaitForNote = ##t


This is for me one of the single most frustrating things with Lilypond. 
Hairpins that don't begin or end with a notehead or rest are such a typical 
musical notation, so easy to do by hand or with a WYSIWYG score editor, and 
really annoying and finnicky to do with Lilypond.



- The alignment of the flat sign in text markup like "Clarinet in Bb" is 
difficult.
I gave up on this one because the approach to make it look right felt 
too
hard-coded.


I "solved" this in some scores by defining an entity \Bflat that was the B 
combined with the flat sign in the right relative position and size.  Imperfect 
but doable.



- It was extremely hard to specify a subito dynamic right after a hairpin.  This
is a relatively common use-case, but I had to pull in a pretty 
complicated
scheme function, and modify it, to make it work as expected.  This one 
requirement
probably took around six hours.


If I recall right, doesn't this stem from the fact that default minimum hairpin 
length is expected to _include_ the dynamic mark's width?  So any dynamic mark 
which contains more than 1 letter can mess up the display of the hairpin (I've 
even seen cases where the hairpin itself was so narrow it was pretty much a 
single vertical line -- the angle between its arms was a full 180 degrees!).


I think the solution here is probably that there be a real minimal length for 
the hairpin alone -- this matches what one sees in e.g. the Henle hand-engraved 
scores, where (if you remember the video that was posted) the very smallest 
hairpins are not hand-engraved but stamped with a custom die.


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Raw LilyPond Output

[Richard Shann]

The new release Denemo 1.1 has a feature asked for on this list a while
back: direct output of the LilyPond music to files (one file per
staff/voice) with no wrappings - no contexts etc.

The full new features list for this release is as follows:

Palettes of commands
Customize content and shape
User created palettes
Movement Navigation Buttons
Buttons for quick change
Indication of current Movement
Raw LilyPond Output
For inclusion in user’s LilyPond template
Single keypress to update the output
Tablature
Support for all instruments

Upgrade Support
Keep custom shortcuts, palettes, etc on upgrading Denemo
Command Center
Can stay open while working on score.
Replaces old Command Manager
Menu path to each command is shown
Incremental search for commands by label
Incremental search for strings within tooltips
Execute any command
Add any command to a palette

Richard Shann



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Re: c2 and c4 Heads Combination on RhythmicStaff

[David Kastrup]

Marteno MINIĤ  writes:

> Hello,
>
> This example shows the two heads of the first notes of the each voice
> combined into one -- so that the c2 note has a full head rather than its
> own empty head.
>
> Apparently this is wrong only on RhythmicStaff, because if I use Staff
> rather than RhythmicStaff everything works as it should (and the c2 note
> has its own head).
>
> I am running lilypond 2.16.2
>
> Please advise -- am I missing something here?
>
> --example---begins---
>
> \score { \new RhythmicStaff {
>   <<
>  { \voiceOnec2  }
>  \new Voice {\voiceTwo   c4  c4 }
>   >> \oneVoice
> } }
>
>
> -example---ends--

See http://code.google.com/p/lilypond/issues/detail?id=185#c7>

-- 
David Kastrup


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c2 and c4 Heads Combination on RhythmicStaff

[Marteno MINIĤ]

Hello,

This example shows the two heads of the first notes of the each voice
combined into one -- so that the c2 note has a full head rather than its
own empty head.

Apparently this is wrong only on RhythmicStaff, because if I use Staff
rather than RhythmicStaff everything works as it should (and the c2 note
has its own head).

I am running lilypond 2.16.2

Please advise -- am I missing something here?

--example---begins---

\score { \new RhythmicStaff {
  <<
 { \voiceOnec2  }
 \new Voice {\voiceTwo   c4  c4 }
  >> \oneVoice
} }


-example---ends--

Many thanks,
Martin
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