Re: code formatting
Noeck wrote Hi, is the lilypond code formatting that Frescobaldi does also available as a commandline tool? Joram ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user What do you mean by formatting? Like spacing/indents or colors, or? - composer | sound designer LilyPond Tutorials (for beginners) -- http://bit.ly/bcl-lilypond -- View this message in context: http://lilypond.1069038.n5.nabble.com/code-formatting-tp156907p156912.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: code formatting
Zitat von Noeck noeck.marb...@gmx.de: Hi, is the lilypond code formatting that Frescobaldi does also available as a commandline tool? Joram I'm not sure about the current state of affairs, but Wilbert is/has been busy moving lots of stuff in a dedicated module and removing dependencies to Qt libraries. The goal is to have an independent 'ly' module that can be included and used other other tools, for example standalone scripts as you suggest. Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: code formatting
2014/1/2 u...@openlilylib.org Zitat von Noeck noeck.marb...@gmx.de: Hi, is the lilypond code formatting that Frescobaldi does also available as a commandline tool? Joram I'm not sure about the current state of affairs, but Wilbert is/has been busy moving lots of stuff in a dedicated module and removing dependencies to Qt libraries. The goal is to have an independent 'ly' module that can be included and used other other tools, for example standalone scripts as you suggest. it could be used also to fix these issues: https://code.google.com/p/lilypond/issues/detail?id=777 https://code.google.com/p/lilypond/issues/detail?id=1432 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: code formatting
Federico Bruni fedel...@gmail.com schrieb: 2014/1/2 u...@openlilylib.org Zitat von Noeck noeck.marb...@gmx.de: Hi, is the lilypond code formatting that Frescobaldi does also available as a commandline tool? Joram I'm not sure about the current state of affairs, but Wilbert is/has been busy moving lots of stuff in a dedicated module and removing dependencies to Qt libraries. The goal is to have an independent 'ly' module that can be included and used other other tools, for example standalone scripts as you suggest. it could be used also to fix these issues: https://code.google.com/p/lilypond/issues/detail?id=777 https://code.google.com/p/lilypond/issues/detail?id=1432 Yes, definitely. And I'm sure there's no long way to go anymore. Unfortunately I don't really see myself giving it a shot in the near future. Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Urs Liska openlilylib.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: output diff
- Original Message - From: Noeck noeck.marb...@gmx.de To: lilypond-user lilypond-user@gnu.org Sent: Thursday, January 02, 2014 7:23 AM Subject: output diff Hi I remember that I have seen something like a diff of output files for lilypond as regtests some where. Objects that match are drawn in black and if not, the old one is printed in red and the new in green. Is that available as a general tool? My purpose would be to look at my scores if something changed in the output when I upgrade to a newer version. TIA Joram Is this what you're remembering? http://philholmes.net/lilypond/regtestresults/ Those are produced with a Windows program that I wrote in C#. If it's of use, you'd be welcome to a copy. Alternatively you might like to look at http://lilypond.org/doc/v2.17/Documentation/contributor/pixel_002dbased-regtest-comparison -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strip dynamics for Piano music
On Fri, Dec 6, 2013 at 2:40 PM, Noeck noeck.marb...@gmx.de wrote:
is it possible somehow, to split contents of a music expression into
two? I am asking for a piano staff which I would enter as follows:
upper = { a4\f g f e\p }
lower = { a,1 }
Greetings,
sorry for answering so late but this message had been caught in my spam filter!
What you’re describing is actually exactly what I do in my own scores:
http://git.savannah.gnu.org/cgit/opus-libre.git/tree/lib/libdynamics.scm#n22
#(define (dynamic? x)
(let ((name (ly:music-property x 'name)))
(or
(eq? name 'DynamicEvent)
(eq? name 'AbsoluteDynamicEvent)
(eq? name 'CrescendoEvent)
(eq? name 'DecrescendoEvent)
(eq? name 'SpanDynamicEvent
#(define removeDynamics
;; Remove untagged dynamics.
(define-music-function (parser location music) (ly:music?)
(if (ly:get-option 'no-auto-piano-dynamics)
music
(music-filter
(lambda (x)
(let ((tags (ly:music-property x 'tags))
(dir (ly:music-property x 'direction)))
(not (and
(dynamic? x)
(not (memq 'staff-dynamics tags))
(null? dir)
music
#(define filterDynamics
;; Like \removeWithTag, but will not affect other contexts
;; (i.e. no \change, no \bar or \time etc.)
(define-music-function (parser location music) (ly:music?)
(if (ly:get-option 'no-auto-piano-dynamics)
(make-music 'Music 'void #t)
(music-filter
(lambda (x)
(let ((name (ly:music-property x 'name))
(tags (ly:music-property x 'tags))
(dir (ly:music-property x 'direction)))
(not (or
(eq? name 'ContextChange)
(eq? name 'VoiceSeparator)
;(eq? name 'ContextSpeccedMusic)
(memq 'staff-dynamics tags)
(ly:dir? dir)
music
The advantage of the code I use is that it takes the dynamics from
either the upper or the lower staff:
\new PianoStaff
\new Staff \removeDynamics \upper
\new Dynamics \filterDynamics \upper \lower
\new Staff \removeDynamics \lower
However, all dynamics that have an explicit direction will be ignored
(c^\f, c-\f or c_\f), which allows you to keep the ability of
attaching some dynamics to one of the staves whenever you need to.
Hope this helps!
Cheers,
V. Villenave.
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Re: calling all opera/musical engravers
On Sat, Dec 28, 2013 at 3:22 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Best, I suppose, would be to have a calculated default with a manual override option. =) Hi Kieren, I’m a bit late but: I did use LilyPond for long and complex scores (operas tend to be a LOT less complex than chamber music or solo piano music, at least in my experience). - I don’t care much for lilypond-book. Never have used it nor required it. - I never needed to use anything other than plain vanilla LilyPond. (Which didn’t keep me from trying, just ’cause I can.) - In this regard, I also favor staying as close to the default layout as possible. Every tweak you make is an additional risk of trouble to come with future versions. - Much like everybody (I guess?) I did use several Scheme macros, but that was mostly for convenience (for example not having to type the full syntax every time I want a frigging tuplet, or not having to add staccato dots after each and every note). My coding habits and tastes have evolved quite a bit over time, so that’s hardly relevant to your own needs. - Contemporary notation is quite achievable in LilyPond, especially compared to, well, anything else. Complex rhythms, multiple simultaneous meters, weird instrument-specific graphical gizmos, microtones, you name it. You have to trust the program. Just take a deep breath and dive in. - I have _absolute_ trust in the program. But also in its evolution: every time I thought something couldn’t be done, someone went and fixed it: - I was fortunate enough to publish my first opera at the exact time when Nicolas Sceaux added the \bookpart thingy, which was _immensely_ helpful (and part of the reason why lilypond-book isn’t required IMO). - Most of the stuff I really, really wanted to do but couldn’t is now quite easily achievable thanks to David’s work over the past couple of years. - The only missing feature that made me pull my head off, was the need for a neo-modern accidental style; I offered Rune Zedeler to add it for a fee, which he very competently did. - Even when what you’re looking at seems depressingly buggy, that doesn’t mean it will be forever. Years later when I tried and recompile my code (minus a few syntax updates, albeit quite minor), the layout and spacing had greatly improved. - Trust not only the program but the community. I can’t count the hundreds of times where I got stuck, angstily asked a crucial question and got my life-defining answer WITHIN MINUTES. Every roadblock I encountered evidently wasn’t _that_ much of a big deal, but you tend to lack objectivity when it comes to your own work and everything seems desperately adverse. The point is: stop hesitating and go. LilyPond will take you *anywhere* you need; what it will not do is write the score on its own nor make you decide what you want to write. But as long as you can overcome your own uncertainties and tell LilyPond what you envision with sufficient clarity, it *will* take you anywhere. - Needless to say, you know where to find me if you have any doubts, questions, regrets or jokes you want to share :-) Hope this helps -- And a happy new year to you! Cheers, Valentin. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: calling all opera/musical engravers
Valentin Villenave valen...@villenave.net writes: - Trust not only the program but the community. I can’t count the hundreds of times where I got stuck, angstily asked a crucial question and got my life-defining answer WITHIN MINUTES. Every roadblock I encountered evidently wasn’t _that_ much of a big deal, That's like saying a trill on fingers 4-5 with a roll on a violin evidently isn't that much of a big deal when you ask the right person. but you tend to lack objectivity when it comes to your own work and everything seems desperately adverse. But the point is: once you asked the right person, you can use his version of the trill in your result. You can use sampling. And the instrument gets nicer through the years. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: output diff
Noeck noeck.marb...@gmx.de writes: Hi I remember that I have seen something like a diff of output files for lilypond as regtests some where. Objects that match are drawn in black and if not, the old one is printed in red and the new in green. Is that available as a general tool? Yes and no. The executable that is used for that is scripts/output-distance.py but I don't know how it is used, and it only works selectively on files that have differently placed grobs (otherwise it skips the visual comparison). There is a standalone tool called scripts/auxiliar/make-regtest-pngs.sh that compares all the images with a different algorithm. My purpose would be to look at my scores if something changed in the output when I upgrade to a newer version. make-regtest-pngs.sh should be able to do that. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi 2.0.13
2014/1/2 Tim McNamara tim...@bitstream.net: The MacPorts installation includes Cairo +quartz +x11, the +quartz of which is incompatible with Pango. Apparently the +quartz backend for Cairo is broken. Pango is a dependency for xpn, which I would like to install, but Pango refuses to install with Cairo +quartz. Is the +quartz necessary for Fresobaldi? Or can I clean the Cairo port and install it with just+x11? On my machine, Frescobaldi works perfectly with Cairo +x11 -quartz (the default variants). Apparently I had already Cairo installed with the default variants when I wrote the Portfile, so I didn't notice that installing Poppler +qt4 +quartz would have requested the quartz variant also on Cairo (MacPorts propagates variants to dependencies that are not currently installed, but cannot currently enforce variants on already installed dependencies). An undesirable effect of this oversight is that not only Poppler, but also Cairo will be built on the user's machine (MacPorts provides prebuilt packages only for the default variants). Luckily, Cairo is the only port with a quartz variant among the dependencies of Poppler. The solution to your problem is to uninstall cairo and reinstall it with only the x11 variants: sudo port -f uninstall cairo # you may need to specify the version you want to uninstall sudo port install cairo # if you don't specify any variants, the default ones will be used This will survive upgrades. A temporary solution for new users would be to first install Cairo, then install Poppler +qt4 +quartz and then install Frescobaldi. I'll upgrade the installation instructions as soon as possible. There is a proposed change to Poppler's Portfile that would remove the extra step of manually installing Poppler before Frescobaldi, and would incidentally solve also the variants-on-dependencies problem and remove the need to build Poppler on the user's machine. I hope that this will be solved soon. Best wishes. Davide ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: promoting LilyPond
Janek, you wrote Monday, December 09, 2013 11:31 PM 2013/12/6 Trevor Daniels t.dani...@treda.co.uk: Janek Warchoł wrote Thursday, December 05, 2013 11:29 PM 2013/12/6 Trevor Daniels t.dani...@treda.co.uk: A simpler approach would be to embed templates into LP so that they could just be invoked. The template would provide the context structure of a particular type of score, and also define the variables needed. I very much like it! Could you add it to https://github.com/openlilylib/snippets/tree/master/templates I could, but I'll need to annotate them first. And as I said above, a pair of \include'd files are needed, one at the top and one at the bottom - the user code goes in-between the two. I saw Trevor's snippet and it's really nice! Now i'm waiting for the pull request :) Hi Janek, Sorry to be late in replying, but you may have seen this has now been pushed to master, so it will be incorporated in the next release of LilyPond. That version uses the much improved code supplied by Devon Schudy. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strip dynamics for Piano music
Hi Valentin, What you’re describing is actually exactly what I do in my own scores: http://git.savannah.gnu.org/cgit/opus-libre.git/tree/lib/libdynamics.scm#n22 The advantage of the code I use is that it takes the dynamics from either the upper or the lower staff: \new PianoStaff \new Staff \removeDynamics \upper \new Dynamics \filterDynamics \upper \lower \new Staff \removeDynamics \lower However, all dynamics that have an explicit direction will be ignored (c^\f, c-\f or c_\f), which allows you to keep the ability of attaching some dynamics to one of the staves whenever you need to. This is a wonderful function/extension, which — in my opinion — should be in the regular distro. Thanks! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fractions for make-moment
But if I would like to get an accelerando of 110 %, from 1 to 1.1, how
could this be done?
2014/1/1 David Kastrup d...@gnu.org
Stefan Thomas kontrapunktste...@gmail.com writes:
Dear community,
is it possible to use fractional or decimal numbers in ly:make-moment?
Fractional: yes, decimal: no.
I tried the following:
\version 2.16.2
\new Staff {
\clef bass
\once \override Beam #'grow-direction = #RIGHT \featherDurations
#(ly:make-moment 1 1 )
That does not look like either fractional or decimal.
--
David Kastrup
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Re: fractions for make-moment
Stefan Thomas kontrapunktste...@gmail.com writes:
2014/1/1 David Kastrup d...@gnu.org
Stefan Thomas kontrapunktste...@gmail.com writes:
Dear community,
is it possible to use fractional or decimal numbers in ly:make-moment?
Fractional: yes, decimal: no.
\once \override Beam #'grow-direction = #RIGHT \featherDurations
#(ly:make-moment 1 1 )
That does not look like either fractional or decimal.
But if I would like to get an accelerando of 110 %, from 1 to 1.1, how
could this be done?
#(ly:make-moment 11/10) looks rather fractional to me, and the
documentation for \featherDurations reads
In the following example the eight 16th notes occupy exactly the
same time as a half note, but the first note is one half as long as
the last one, with the intermediate notes gradually lengthening.
The first four 32nd notes gradually speed up, while the last four
32nd notes are at a constant tempo.
\override Beam.grow-direction = #LEFT
\featherDurations #(ly:make-moment 2/1)
{ c16[ c c c c c c c] }
\override Beam.grow-direction = #RIGHT
\featherDurations #(ly:make-moment 2/3)
{ c32[ d e f] }
% revert to non-feathered beams
\override Beam.grow-direction = #'()
{ g32[ a b c] }
which also uses fractional values. Now LilyPond does not use GUILE's
arbitrary precision rationals, so it will likely bomb out sooner than
strictly necessary when the numerators/denominators become uglily large,
see URL:http://code.google.com/p/lilypond/issues/detail?id=3085.
Other than that, you should be able to get along fine.
--
David Kastrup
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Re: strip dynamics for Piano music
On Thu, Jan 2, 2014 at 1:40 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
http://git.savannah.gnu.org/cgit/opus-libre.git/tree/lib/libdynamics.scm#n22
This is a wonderful function/extension, which — in my opinion — should be in
the regular distro.
It *is* quite useful (at least to me), with a few caveats:
- Like all of my code, it is written in a ugly-hackish-sort-of way,
making use of tags etc. By the way, I should have mentioned that I
also use the following modified context:
\layout {
\context {
\Dynamics
\alias Voice
\alias Staff
\remove Script_engraver
\remove Text_engraver
\consists Tweak_engraver
}
}
- It also encourages the *user* to write in a ugly-hackish-sort-of way
(for instance you can begin a crescendo in the lower Staff and close
it later on in the upper Staff).
- It does *not*, as one would expect (I know I did), produce
vertically-centered dynamics in the Piano Staff. As soon as there’s
some complex enough music involved (i.e. ledger lines, let alone
cross-staff stuff!), results will be somewhat disappointing.
With that in mind, perhaps Janek could be interested in adding such a
snippet to his library. (Github makes me sick :-)
Cheers,
Valentin.
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Re: fractions for make-moment
Ok, sorry, I didn't see that rightly in the manual!
Thanks,
Stefan
2014/1/2 David Kastrup d...@gnu.org
Stefan Thomas kontrapunktste...@gmail.com writes:
2014/1/1 David Kastrup d...@gnu.org
Stefan Thomas kontrapunktste...@gmail.com writes:
Dear community,
is it possible to use fractional or decimal numbers in ly:make-moment?
Fractional: yes, decimal: no.
\once \override Beam #'grow-direction = #RIGHT \featherDurations
#(ly:make-moment 1 1 )
That does not look like either fractional or decimal.
But if I would like to get an accelerando of 110 %, from 1 to 1.1, how
could this be done?
#(ly:make-moment 11/10) looks rather fractional to me, and the
documentation for \featherDurations reads
In the following example the eight 16th notes occupy exactly the
same time as a half note, but the first note is one half as long as
the last one, with the intermediate notes gradually lengthening.
The first four 32nd notes gradually speed up, while the last four
32nd notes are at a constant tempo.
\override Beam.grow-direction = #LEFT
\featherDurations #(ly:make-moment 2/1)
{ c16[ c c c c c c c] }
\override Beam.grow-direction = #RIGHT
\featherDurations #(ly:make-moment 2/3)
{ c32[ d e f] }
% revert to non-feathered beams
\override Beam.grow-direction = #'()
{ g32[ a b c] }
which also uses fractional values. Now LilyPond does not use GUILE's
arbitrary precision rationals, so it will likely bomb out sooner than
strictly necessary when the numerators/denominators become uglily large,
see URL:http://code.google.com/p/lilypond/issues/detail?id=3085.
Other than that, you should be able to get along fine.
--
David Kastrup
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convert-ly version 2.18
I have a vague recollection that someone has already mentioned this, but I cannot find it anywhere. The 2.18 convert-ly is placing \version 2.17.97 in its output files when run with options -eb. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: convert-ly version 2.18
- Original Message - From: Patrick or Cynthia Karl pck...@mac.com To: lilypond-user@gnu.org Sent: Thursday, January 02, 2014 3:28 PM Subject: convert-ly version 2.18 I have a vague recollection that someone has already mentioned this, but I cannot find it anywhere. The 2.18 convert-ly is placing \version 2.17.97 in its output files when run with options -eb. http://lists.gnu.org/archive/html/lilypond-user/2013-12/msg01319.html -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Another time model (related to the usability thread)
Hi Keith,
The \pushToTag function does not insert skips of the correct length.
It inserts existing pieces of music into other music without adjusting
lengths, nor computing any lengths.
Correct.
It would be helpful for LilyPond to compute rest-lengths for us.
That *would* be great!
I am playing around with the idea of eventually making R1\until#'coda
repeat itself until LilyPond sees 'coda somewhere in the score.
Here is a toy version, using the existing input R1\tag#'coda
It requires \alignTo \global {..} where \global contains a
sequence with the tags at the desired times.
This is a really nice starting point!
1. Can this be “prefix” rather than “postfix”? e.g.,
\tag #’verse R1 ...
instead of
R1 \tag #’verse ...
?
2. Could we use \alignTo instead of overloading \tag? e.g.
\alignTo #’verse R1 ...
Thanks!
Kieren.
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Re: strip dynamics for Piano music
Hi Valentin, - Like all of my code, it is written in a ugly-hackish-sort-of way, making use of tags etc. Yes… What would be the non-ugly-hackish-sort-of-way? - It also encourages the *user* to write in a ugly-hackish-sort-of way (for instance you can begin a crescendo in the lower Staff and close it later on in the upper Staff). Ew… =) Yes, we probably shouldn’t be encouraging ugly-hackish-sort-of code. That being said, there’s no beautiful-elegant-sort-of way of doing this kind of thing, so here we are. - It does *not*, as one would expect (I know I did), produce vertically-centered dynamics in the Piano Staff. As soon as there’s some complex enough music involved (i.e. ledger lines, let alone cross-staff stuff!), results will be somewhat disappointing. =( Well, maybe if we collectively build the non-ugly-hackish-sort-of solution, that behaviour will change [for the better] as a side effect. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Weirdness With Fonts and Font Tree Snippet
I figured I'd wait till 2.18.0 to see if something magical occurred, but now I know for sure... When I use the snippet: #(define fonts (make-pango-font-tree Linux Libertine G Nimbus Sans Luxi Mono (/ myStaffSize 20))) On my Mac (which is Snow Leopard) I do not get Linux Libertine but some sans serif font (I imagine it is Nimbus Sans). I promise I have the font installed, and (for some reason) I remember it worked a while ago... but now I have no clue. It works properly with Windows machines (both of my work machines are windows) and have shown no signs of error. I also tried installing the font from the source, (it was under Linux Libertine O) and tried it too. I did try the TTF version as well; alas, to no avail. I imagine this may be an internal thing (with respect to my personal computer) but was wondering anyone if ya'll had any thoughts in regard to this matter. It would also be nice to know if there is a clear cut way to change the default internal fonts to LilyPond (when I see all the developer jargon, I get all fuzzy and dizzy). See attached for default output when I run it through my Mac. Sincerely, Josh attachment: wierdness.png___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
On Thu, Jan 2, 2014 at 11:39 AM, Joshua Nichols josh.d.nich...@gmail.com wrote: I figured I'd wait till 2.18.0 to see if something magical occurred, but now I know for sure... When I use the snippet: #(define fonts (make-pango-font-tree Linux Libertine G Nimbus Sans Luxi Mono (/ myStaffSize 20))) On my Mac (which is Snow Leopard) I do not get Linux Libertine but some sans serif font (I imagine it is Nimbus Sans). I promise I have the font installed, and (for some reason) I remember it worked a while ago... but now I have no clue. It works properly with Windows machines (both of my work machines are windows) and have shown no signs of error. I also tried installing the font from the source, (it was under Linux Libertine O) and tried it too. I did try the TTF version as well; alas, to no avail. I imagine this may be an internal thing (with respect to my personal computer) but was wondering anyone if ya'll had any thoughts in regard to this matter. It would also be nice to know if there is a clear cut way to change the default internal fonts to LilyPond (when I see all the developer jargon, I get all fuzzy and dizzy). See attached for default output when I run it through my Mac. Sincerely, Josh I've experienced the same issue before. Is the font installed at the User level or at the Computer level? I seem to recall that it has to be at the Computer level. I also think you might need to use something like LinLibertine as the font name...I'll have to go back later and look at the scores I've done using Linux Libertine O. (and is Linux Libertine G above a typo or really what you have in your score? In which case you may have your problem). Cheers, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
Hello, Last time (a long time ago) I had that problem, I deleted the fonts cache file created by LilyPond in my user folder with: Philippe -- View this message in context: http://lilypond.1069038.n5.nabble.com/Weirdness-With-Fonts-and-Font-Tree-Snippet-tp156948p156954.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Another time model (related to the usability thread)
On Thu, 02 Jan 2014 07:51:03 -0800, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: 1. Can this be “prefix” rather than “postfix”? e.g., 2. Could we use \alignTo instead of overloading \tag? e.g. \alignTo #’verse R1 ... Yes, that would actually be easier to interpret. It would extend the following rest,or skip, so that the rest ends when \tag#'verse happens in the conductor part. Maybe \extendUntil#'verse would be more explicit, but syntax can follow function. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
Thanks for your response Carl, Is the font installed at the User level or at the Computer level? I think it is both. I installed a user font (that was from the source) and that appeared on the user level... but the system had a font called Linux Libertine G which is native to LibreOffice (the WYSIWYG I use for docs). is Linux Libertine G above a typo or really what you have in your score? Linux Libertine G is the name of the font. I've used it in typesetting .ly things on my Windows machine... and I think the G stands for Graphite which is a typesetting feature of LibreOffice's kerning and advanced typesetting features in the typesetting toolbar. LLG is what comes with LibreOffice. Sincerely, Josh On Thu, Jan 2, 2014 at 10:45 AM, Carl Peterson carlopeter...@gmail.comwrote: On Thu, Jan 2, 2014 at 11:39 AM, Joshua Nichols josh.d.nich...@gmail.com wrote: I figured I'd wait till 2.18.0 to see if something magical occurred, but now I know for sure... When I use the snippet: #(define fonts (make-pango-font-tree Linux Libertine G Nimbus Sans Luxi Mono (/ myStaffSize 20))) On my Mac (which is Snow Leopard) I do not get Linux Libertine but some sans serif font (I imagine it is Nimbus Sans). I promise I have the font installed, and (for some reason) I remember it worked a while ago... but now I have no clue. It works properly with Windows machines (both of my work machines are windows) and have shown no signs of error. I also tried installing the font from the source, (it was under Linux Libertine O) and tried it too. I did try the TTF version as well; alas, to no avail. I imagine this may be an internal thing (with respect to my personal computer) but was wondering anyone if ya'll had any thoughts in regard to this matter. It would also be nice to know if there is a clear cut way to change the default internal fonts to LilyPond (when I see all the developer jargon, I get all fuzzy and dizzy). See attached for default output when I run it through my Mac. Sincerely, Josh I've experienced the same issue before. Is the font installed at the User level or at the Computer level? I seem to recall that it has to be at the Computer level. I also think you might need to use something like LinLibertine as the font name...I'll have to go back later and look at the scores I've done using Linux Libertine O. (and is Linux Libertine G above a typo or really what you have in your score? In which case you may have your problem). Cheers, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
2014/1/2 Joshua Nichols josh.d.nich...@gmail.com When I use the snippet: #(define fonts (make-pango-font-tree Linux Libertine G Nimbus Sans Luxi Mono (/ myStaffSize 20))) On my Mac (which is Snow Leopard) I do not get Linux Libertine but some sans serif font (I imagine it is Nimbus Sans). I promise I have the font installed, and (for some reason) I remember it worked a while ago... but now I have no clue. It works properly with Windows machines (both of my work machines are windows) and have shown no signs of error. I also tried installing the font from the source, (it was under Linux Libertine O) and tried it too. I did try the TTF version as well; alas, to no avail. If you run this command in a terminal (hope it works on mac): fc-list | grep libertine does it catch the font? Recently I had this problem (on linux): https://code.google.com/p/lilypond/issues/detail?id=3589 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
auto two-column markup layout?
Hi all, Does anyone have a function to automatically lay out a list of markups in two columns? Bonus points for margin/width/gutter parameter control, and auto page-breaking. =) I’m doing it all manually right now, and it’s a bit frustrating… Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
brainstorming \book and \bookpart (and more?)
Hello all, Riffing on some recent threads/discussions… I’d love to have a discussion about what can (and cannot) be done to take the current \book \bookpart mechanism(s) to the goal line, and then come up with a list of specific feature requests (and possible bounties) to get us there. Here are some things to get the discussion started: 1. \bookpart or equivalent without page break (supporting e.g. midpage margin adjustments); 2. fully automatic page numbering intra- and inter-bookpart, with manual override capabilities. Thoughts? Other limitations or requests in this area? Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
I ran the command verbatim, and nothing occurred. Need I tell you I am not that in-tune to programming stuff, so I might be missing something. IC, Josh On Thu, Jan 2, 2014 at 12:05 PM, Federico Bruni fedel...@gmail.com wrote: 2014/1/2 Joshua Nichols josh.d.nich...@gmail.com When I use the snippet: #(define fonts (make-pango-font-tree Linux Libertine G Nimbus Sans Luxi Mono (/ myStaffSize 20))) On my Mac (which is Snow Leopard) I do not get Linux Libertine but some sans serif font (I imagine it is Nimbus Sans). I promise I have the font installed, and (for some reason) I remember it worked a while ago... but now I have no clue. It works properly with Windows machines (both of my work machines are windows) and have shown no signs of error. I also tried installing the font from the source, (it was under Linux Libertine O) and tried it too. I did try the TTF version as well; alas, to no avail. If you run this command in a terminal (hope it works on mac): fc-list | grep libertine does it catch the font? Recently I had this problem (on linux): https://code.google.com/p/lilypond/issues/detail?id=3589 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
2014/1/2 Joshua Nichols josh.d.nich...@gmail.com I ran the command verbatim, and nothing occurred. Need I tell you I am not that in-tune to programming stuff, so I might be missing something. try running just: fc-list and post here the output (if any) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why you don't contribute to Mutopia
Le 01/01/2014 19:01, Federico Bruni a écrit : Dear Lilyponders some recent posts in this list made me think about the weaknesses of Mutopia and why people who may contribute to it are not doing so. I'd like to have some feedback from you. Which change in the Mutopia interface/decisions would make you start contributing or contributing more? I can see these big problems: [snip...] 2. Licenses Currently Mutopia accepts only transcriptions licensed as public domain, CC By, CC By-Sa: http://www.mutopiaproject.org/legal.html I don't know what led to this decision, but I can imagine that at least CC By-Sa-Nc would be preferred by some. And what about Free Art License which is recommended by the Free Software Foundation. IMHO it's really a Free license. Seems like IMSLP has the same problem with this license! It's impossible to tell you what kind of problems are relevant, it's totally esoteric from IMSLP. I don't understand the arguments against this choice, if they exists. Thanks for the feedback. Federico ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Learning LilyPond, comments invited
My second score created with Lilypond is (again) choral music, set with a
mensurstriche.
It's a 100 measure score; here I present the first 10 measures, and the
upper two staffs, copy-pasted in this message. Can you please have a look,
your comments are appreciated.
When creating source (HTML/CSS, POVRAY, SVG) I try to apply the general
rules of thumb:
- Separate the things that change from the things that stay the same
- Group the the things that change together
- Do not repeat yourself
As pointed out in the LilyPond documentation, layout of music notation is
both top-down and keeping things synchronized.
http://www.lilypond.org/doc/v2.17/Documentation/notation/working-with-ancient-music_002d_002dscenarios-and-solutions#mensurstriche-layout
Following the example in the above link I have placed the layout-declaring
commands in a separate group called 'barSetup':
- \hide Staff.BarLine
- All the instances of \break
- \undo \hide \Staff.BarLine
The \undo \hide \Staff.Barline must be kept in sync with the notes, so it
must be snug with the notes.
It's clear to me now how much the operator is the workhorse of
LilyPond.
I enter everything (barSetup, notes and lyrics) in groups of five measures
on every line.
For the lyrics: I group the underscores for the melisma's according to the
bars (three whitespaces where there is a barline), to help me keep track.
There is the hierarchical ordering:
Score
StaffGroup
Staff
Voice
(And of course there are additional levels in between, as part of the
internal Lilypond implementation. )
As you can see in my 10 measure snippet, I inserted a \transpose between
\Score and \StaffGroup.
It's a null-transposition: c' c'. I don't comment out the \transpose,
because then I have to comment out the closing bracket too, and that would
be error prone. I intend to add a \transpose like that to every score, to
make it transposition-ready.
Incidentally, I noticed that with the \key command inside the \transpose the
key is automatically transposed too. So, transposion is set with a _single
edit_.
I was able to move all of the layout to \layout, using the \context
accessor.
Most of the syntax could be readily inferred:
\StaffGroup
\override Score.BarNumber.font-size = #1.5
\layout {
\context { \Score \override BarNumber.font-size = #1.5 }
}
But this one took many guesses:
\StaffGroup
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
\layout {
\context { \Score barNumberVisibility = #(every-nth-bar-number-visible 5)
}
}
Lyrics.
Getting the lyrics to line up with the notes was laborious. I tried to
prepare the lyrics as best as I could, but inevitably there are errors. It
took many iterations to line them up.
In the case of this document the only group that has a pipe symbol for
_every_ barline is the \barSetup group. It would be nice to have other
groups sync up to that one.
++
\version 2.18.0
\language english
% 't' as in 'test' or 'transcribing an existing score'
tBreak = { \break }
ficta = { \once \set suggestAccidentals = ##t }
addKey = { \key c \major \time 4/4 }
barSetup =
{
\hide Staff.BarLine % for the Mensurstriche: inside the staff hide the
barline
s1 | s1 | s1 | \tBreak s1 | s1 | %005
s1 | s1 | s1 | \tBreak s1 | s1 | %010
\undo \hide Staff.BarLine \bar || % final barline visible
}
staffOneNotes = \relative c'' {
{
g1 | g2 a2 | b2 g2 | r2 a2 | d2. c4 | %005
b2 a2 | r4 d4 d4 b4 | c4. b8 a8[ g8] a4. g8[ f8 e8] d4 a'2 g2 \ficta
fs4 | %010
}
\barSetup
}
staffOneWords = \lyricmode {
San -- cta Ma -- ri -- a, San -- cta Ma -- %005
ri -- a, suc -- cur -- re mi- _ _ _ _ _ _ _ _ _ _ %010
}
staffTwoNotes = \relative c' {
{
%\clef G_8
g2 c2. d4 a2 | g4. a8 b8[ c8] d2 cs4 d2 | r4 d2 d4 | %005
e2 f2 | d2 r2 | c2 f2. d4 f2 | e2 d4. c8 | %010
}
\barSetup
}
staffTwoWords = \lyricmode {
San -- cta Ma -- ri -- a, San -- cta %05
Ma -- ri -- _ _ _ _ _ _ a, suc -- cur -- re mi -- se- _ _ %10
}
#(set-global-staff-size 18)
\header {
title = Sancta Maria, succurre miseris
composer = Philippe Verdelot
tagline =
}
\score {
\transpose c' c'
{
\new StaffGroup
\new Staff
\set Staff.instrumentName = #Superius
\new Voice = staffOne \addKey \staffOneNotes
\lyricsto staffOne \new Lyrics \staffOneWords
\new Staff
\set Staff.instrumentName = #Contratenor
\new Voice = staffTwo \addKey \staffTwoNotes
\lyricsto staffTwo \new Lyrics \staffTwoWords
}
\layout
{
indent = 6\cm
%#(layout-set-staff-size 18)
\context { \Score \hide SystemStartBracket }
\context { \Score barNumberVisibility = #(every-nth-bar-number-visible
5) }
\context { \Score \override BarNumber.break-visibility =
Re: brainstorming \book and \bookpart (and more?)
Another discussion point: 3. \bookpartTitleMarkup (analogous to \bookTitleMarkup and \scoreTitleMarkup). Cheers, Kieren. On Jan 2, 2014, at 1:40 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hello all, Riffing on some recent threads/discussions… I’d love to have a discussion about what can (and cannot) be done to take the current \book \bookpart mechanism(s) to the goal line, and then come up with a list of specific feature requests (and possible bounties) to get us there. Here are some things to get the discussion started: 1. \bookpart or equivalent without page break (supporting e.g. midpage margin adjustments); 2. fully automatic page numbering intra- and inter-bookpart, with manual override capabilities. Thoughts? Other limitations or requests in this area? Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why you don't contribute to Mutopia
Federico, thanks for writing this. There is a mixture of hope and despair in the responses, as well as an understanding of the complexities in an all-volunteer site. The content in Mutopia is substantial enough to be a great resource and managing this content via volunteers will always be a challenge. There have been a number of updates in the past year -- utf-encoding conversions, project status updates, data consistency repairs -- and these have been good starting points. Much of that effort took place without engaging mutopia-discuss and that was probably a mistake. As long as the content is good (correct, aesthetically pleasing, readable, and using a reasonably current version of LilyPond) I believe the site holds value. It is not as good as it could be. On Wed, Jan 1, 2014 at 10:01 AM, Federico Bruni fedel...@gmail.com wrote: [snip] 3. Requisites for the lilypond files Some people are discouraged by the criteria to get the files accepted. For example, they may create the score with Denemo and then export the lilypond file, but they cannot check the quality of the file. I'd suggest them to try to submit their file to the mutopia-discuss list and see if someone can clean the input. Personally, I'd be glad to contribute this way. As long as the Denemo-based transcriber understands that they may not be able to round-trip their submission. 4. Web interface Currently the contributions are handled via github or by email. Github is a good way but it's for geeks only. There are currently only seven contributors: https://github.com/chrissawer/The-Mutopia-Project/graphs/contributors The email may be a good alternative, but who is receiving contributions@emails? Just Chris? I have no idea if people send contributions this way. A modern web interface may attract more contributions? Probably, but I've come to believe that updating the content is more important. -glen (just an active Mutopia-Project volunteer) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why you don't contribute to Mutopia
On Wed, Jan 1, 2014 at 11:11 AM, David Kastrup d...@gnu.org wrote: Federico Bruni fedel...@gmail.com writes: Dear Lilyponders some recent posts in this list made me think about the weaknesses of Mutopia and why people who may contribute to it are not doing so. I'd like to have some feedback from you. Which change in the Mutopia interface/decisions would make you start contributing or contributing more? Mutopia scores tend to be useful as PDF only, the equivalent of dead paper. They usually have been compiled with an ancient version of LilyPond nobody has available any more. As a result, recompilation, transposing, changes of paper format and other things are hard. Mutopia's biggest weakness is not that it is missing new contributions but rather that the existing contributions become unusable. So what's needed is: a) automated run of convert-ly to all following available stable versions b) an interface for people to say PDF for upgraded file looks ok c) an interface for people to fix up files that fail after convert-ly or are unnecessary complex given new LilyPond features. d) grading/voting mechanisms for scores/contributors e) obsoleting files when they have been converted and the version is really outdated (like, beyond Debian Stale from one year ago) f) notification to original transcriber on pending update Time to quantify ancient (which I know is substantial) The only way to achieve a reliable level of automation is to focus on the very old submissions. It is a good goal with or without automation. -glen ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond 2.18.0 released
David Kastrup wrote We are proud to announce the release of GNU LilyPond 2.18.0 - the new stable release. Congratulations! Many thanks and props to David and the whole LilyPond team for all their hard work. Great to see LilyPond continuing to improve with another solid release. Best wishes for the new year to everyone! -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/LilyPond-2-18-0-released-tp156692p156975.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Learning LilyPond, comments invited
Colin Tennyson colintenny...@outlook.com writes:
There is the hierarchical ordering:
Score
StaffGroup
Staff
Voice
(And of course there are additional levels in between, as part of the
internal Lilypond implementation. )
As you can see in my 10 measure snippet, I inserted a \transpose between
\Score and \StaffGroup.
No, you didn't. You used \transpose inside of a \score which starts
with \new StaffGroup.
Totally not the same thing. \score is a reserved word in the syntax.
\new StaffGroup is music that creates a new context based on the
StaffGroup definition in the current output (either \midi or \layout).
\StaffGroup in an output block _copies_ the current StaffGroup
definition, usually in order to add further material to the copy. Since
the copy includes the \name StaffGroup definition, without overriding
that name the resulting modified copy will replace the original
StaffGroup definition.
Similarly, \Score in an output definition creates a copy of the current
Score definition. Score is more often than not created implicitly
rather than with \new Score.
It's a null-transposition: c' c'. I don't comment out the \transpose,
because then I have to comment out the closing bracket too,
No, you don't. \transpose c' c' can just be removed and/or inserted.
If a single music expression is preceded with \transpose c' c', the
result is again a single music expression. And since \score only
accepts a single music expression, you can always insert \transpose c'
g' right before that expression without having to add or remove a single
brace.
and that would be error prone. I intend to add a \transpose like that
to every score, to make it transposition-ready.
Every \score is transposition-ready anyway.
I was able to move all of the layout to \layout, using the \context
accessor.
Most of the syntax could be readily inferred:
\StaffGroup
\override Score.BarNumber.font-size = #1.5
Again, you confuse \StaffGroup and \new StaffGroup. \StaffGroup is not
generally available in music. It does not make sense here.
\layout {
\context { \Score \override BarNumber.font-size = #1.5 }
}
If you don't want to infer syntax:
\layout {
\override Score.BarNumber.font-suze = #1.5
}
will work just fine. The difference is that your definition will _only_
affect the current definition of Score in the layout, while the second
syntax will affect _all_ definitions that have a \name _or_ an \alias of
Score. Now here the difference is pretty academical since you almost
never want Score to be aliased. For other contexts, it may be more
interesting.
But this one took many guesses:
\StaffGroup
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
\layout {
\context { \Score barNumberVisibility = #(every-nth-bar-number-visible 5)
}
}
Again:
\layout {
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
}
would also work.
\layout
{
indent = 6\cm
%#(layout-set-staff-size 18)
\context { \Score \hide SystemStartBracket }
\context { \Score barNumberVisibility = #(every-nth-bar-number-visible
5) }
\context { \Score \override BarNumber.break-visibility =
#end-of-line-invisible }
Uh, overkill. Every line creates a new copy of the Score definition.
You can instead just write
\context { \Score
\hide SystemStartBracket
barNumberVisibility = #(every-nth-bar-number-visible 5)
...
}
--
David Kastrup
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Re: strip dynamics for Piano music
Am 02.01.2014 11:39, schrieb Valentin Villenave:
On Fri, Dec 6, 2013 at 2:40 PM, Noeck noeck.marb...@gmx.de wrote:
is it possible somehow, to split contents of a music expression into
two? I am asking for a piano staff which I would enter as follows:
upper = { a4\f g f e\p }
lower = { a,1 }
Greetings,
sorry for answering so late but this message had been caught in my spam
filter!
What you’re describing is actually exactly what I do in my own scores:
http://git.savannah.gnu.org/cgit/opus-libre.git/tree/lib/libdynamics.scm#n22
…
However, all dynamics that have an explicit direction will be ignored
(c^\f, c-\f or c_\f), which allows you to keep the ability of
attaching some dynamics to one of the staves whenever you need to.
Hi Valentin,
That is exactly the thing I wanted to achieve with this functionality.
Thanks for your answer! I will check it out and test it (with all the
caveats in mind that you mention).
When I asked, I thought that this could be a very clever and helpful
functionality - on the other hand it could have some pitfalls and it
could be less robust than explicit input. You seem to confirm both. I
will know more after using it.
Thanks again,
Joram
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Re: Weirdness With Fonts and Font Tree Snippet
On Thu, Jan 2, 2014 at 6:43 PM, Joshua Nichols josh.d.nich...@gmail.com wrote: see attached. It was lengthy. IC, Josh I didn't find an entry for Linux Libertine in your listing. On my machine, I checked Font Book and it looks like I have it installed both as a user copy and as a system copy. And Linux Libertine O works for me. Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why you don't contribute to Mutopia
Glen Larsen glenl@gmail.com writes: 3. Requisites for the lilypond files Some people are discouraged by the criteria to get the files accepted. For example, they may create the score with Denemo and then export the lilypond file, but they cannot check the quality of the file. I'd suggest them to try to submit their file to the mutopia-discuss list and see if someone can clean the input. Personally, I'd be glad to contribute this way. As long as the Denemo-based transcriber understands that they may not be able to round-trip their submission. Perhaps one should offer a way to offer Denemo files as well. The GPL, a key document for the spirit of Free Software, states: 1. Source Code. The source code for a work means the preferred form of the work for making modifications to it. Object code means any non-source form of a work. and requires works to be distributed including source code. For a Denemo score, the preferred form of modification is the Denemo file: offering the export to LilyPond may be nice for LilyPond users, but it's no longer the corresponding source. It's already a derivative like a MIDI file. A modern web interface may attract more contributions? Probably, but I've come to believe that updating the content is more important. If you are counting on surf-by fixings (like Wikipedia does), a web interface is pretty much a necessity. It does not need to be modern (which is often an alias for flashy, clunky, annoying), but it must not make doing a few fast fixes cumbersome. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
Okay, so I did the obvious and went through the Fontbook and literally clicked and dragged the fonts into the computer (I guess that's the sys place) tab, and then I re-typeset the file: It worked... Well... there's for a lot of heartburn! Thank y'all for helping out! I can't believe that to get that effect it worked that *easily*. IC, Josh On Thu, Jan 2, 2014 at 6:30 PM, Carl Peterson carlopeter...@gmail.comwrote: On Thu, Jan 2, 2014 at 6:43 PM, Joshua Nichols josh.d.nich...@gmail.com wrote: see attached. It was lengthy. IC, Josh I didn't find an entry for Linux Libertine in your listing. On my machine, I checked Font Book and it looks like I have it installed both as a user copy and as a system copy. And Linux Libertine O works for me. Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
Joshua Nichols josh.d.nichols at gmail.com writes: see attached. It was lengthy. For future reference, probably you needed this, for case-insensitive searching. fc-list | grep -i libertine hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Learning LilyPond, comments invited
David Kastrup wrote
\transpose c' c' can just be removed and/or inserted.
If a single music expression is preceded with \transpose c' c', the
result is again a single music expression. And since \score only
accepts a single music expression, you can always insert \transpose c'
g' right before that expression without having to add or remove a single
brace.
Thank you, your information will be very helpful to me.
I will study all remarks, let me reply for now to this particular one.
My prior experience with any form of markup code is HTML/CSS and SVG. In
those environments when you open something you have to close it again.
http://www.lilypond.org/doc/v2.17/Documentation/notation/changing-multiple-pitches#transpose
That is the pattern that I see in the documentation.
\transpose a c { ... }
I assumed that the opening and closing brace are _part of the syntax_ of the
\transpose command.
I assumed that you _must_ tell the \transpose command where to stop
transposing, hence I assumed a need for an opening and a closing brace.
I gather from your reply that the \transpose command is simply placed in
front of a block, and then the \transpose command will apply to the end of
that block.
OK.
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Re: Weirdness With Fonts and Font Tree Snippet
On Thu, Jan 2, 2014 at 7:38 PM, Joshua Nichols josh.d.nich...@gmail.com wrote: Okay, so I did the obvious and went through the Fontbook and literally clicked and dragged the fonts into the computer (I guess that's the sys place) tab, and then I re-typeset the file: It worked... Well... there's for a lot of heartburn! Thank y'all for helping out! I can't believe that to get that effect it worked that *easily*. IC, Josh Indeed, I have found that on Mac OS X, the system is very picky about what it sees and doesn't see. For instance, I use the SkyFonts program to install fonts from the Google Fonts site. Apparently, it doesn't install them as system fonts, so if I want to use them in LilyPond (and PT Sans Narrow, one of the fonts in that collection, is the font I currently use for LilyPond), I have to go ahead and download the ZIP file and install them through FontBook, but almost every other program I use has no issue with it. I think Inkscape might be picky as well, but I don't do enough stuff with those fonts in that program to remember. Carl P. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Learning LilyPond, comments invited
Colin Tennyson colintenny...@outlook.com writes:
David Kastrup wrote
\transpose c' c' can just be removed and/or inserted.
If a single music expression is preceded with \transpose c' c', the
result is again a single music expression. And since \score only
accepts a single music expression, you can always insert \transpose c'
g' right before that expression without having to add or remove a single
brace.
Thank you, your information will be very helpful to me.
I will study all remarks, let me reply for now to this particular one.
My prior experience with any form of markup code is HTML/CSS and SVG. In
those environments when you open something you have to close it again.
http://www.lilypond.org/doc/v2.17/Documentation/notation/changing-multiple-pitches#transpose
That is the pattern that I see in the documentation.
\transpose a c { ... }
I assumed that the opening and closing brace are _part of the syntax_ of the
\transpose command.
I assumed that you _must_ tell the \transpose command where to stop
transposing, hence I assumed a need for an opening and a closing brace.
I gather from your reply that the \transpose command is simply placed in
front of a block, and then the \transpose command will apply to the end of
that block.
LilyPond has no blocks. There are some constructs enclosing more than
one music expression, like { ... } (sequential music), ...
(simultaneous music), ... (chords).
But the essential music expression does not need delimiters, and the
above constructs do not merely group more than one music expression but
they also imply semantics.
Now it's not all too different from C which tends to group a lot of
things with { } (and LilyPond also uses braces for more than just
music), but when { } are used in code, they are not just an amorphous
collection of statements, but imply _sequential_ execution of the
statements.
At any rate,
\transpose c' g' \transpose g' d' c'4-.
is a perfectly valid single music expression.
--
David Kastrup
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Re: Another time model (related to the usability thread)
Hi Keith,
It would extend the following rest,or skip, so that the rest ends when
\tag#'verse happens in the conductor part. Maybe \extendUntil#'verse would
be more explicit, but syntax can follow function.
It could also be something like
\attachAt #’verse {
R1
c’4 d' e’ f’
...
}
Then it would end up extending the current \pushToTag functionality by filling
with rests the duration from the preceding musical moment/expression to the
tagged moment.
Cheers,
Kieren.
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\include command for only part of a score
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\include *.ly for only part of a score
Hello, I would like to know how to use the \include command for only part of a score. It is not described in the manual. A reply would be much appreciated. Thanks. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \include *.ly for only part of a score
On Thu, Jan 2, 2014 at 6:55 PM, guocuozuoduo brian777...@hotmail.com wrote:
I would like to know how to use the \include command for only part of a score.
It is not described in the manual.
sectionA.ily:
\relative c' {\time 4/4 c1 |}
sectionB.ily:
\relative c' {e1 |}
score.ly:
\score {
\new Staff {
\include sectionA.ily
\include sectionB.ily
}
}
(I haven't tested the above, but this shows the idea.)
Alternatively you could assign the sections to variables and use those
instead of using \include directly:
sectionA.ily:
sectionA = \relative c' {\time 4/4 c1 |}
sectionB.ily:
sectionB = \relative c' {e1 |}
score.ly:
\include sectionA.ily
\include sectionB.ily
\score {
\new Staff {
\sectionA
\sectionB
}
}
-Jay
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Re: Weirdness With Fonts and Font Tree Snippet
On 1/2/14 10:51 AM, Joshua Nichols josh.d.nich...@gmail.com wrote: Thanks for your response Carl, Is the font installed at the User level or at the Computer level? I think it is both. I installed a user font (that was from the source) and that appeared on the user level... but the system had a font called Linux Libertine G which is native to LibreOffice (the WYSIWYG I use for docs). I've never tried using different fonts in LilyPond, but in R, there are problems with using a font that is defined both at the computer level and the user level. Native Mac applications seem to work just fine, but at least R (a linux-style application) has problems when a font is multiply defined. IIRC, FontBook will show you that problem if you look at your fonts in FontBook. I'd recommend that you remove the user font (you can always add it back) and see if that fixes anything. HTH, Carl S. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Learning LilyPond, comments invited
Hi Colin,
On 1/2/14 12:20 PM, Colin Tennyson colintenny...@outlook.com wrote:
Following the example in the above link I have placed the layout-declaring
commands in a separate group called 'barSetup':
- \hide Staff.BarLine
- All the instances of \break
- \undo \hide \Staff.BarLine
The \undo \hide \Staff.Barline must be kept in sync with the notes, so it
must be snug with the notes.
Actually, it doesn't need to be snug with the notes. If you know the
overall layout you want, you can entirely separate it. You don't need to
but \barSetup in the notes for each staff; you can just add it in each
staff. That's the way I'd recommend to do it; it has nothing to do with
the notes.
It's clear to me now how much the operator is the workhorse of
LilyPond.
You're using some parallel music in places where you don't need to, IMO.
In the case of this document the only group that has a pipe symbol for
_every_ barline is the \barSetup group. It would be nice to have other
groups sync up to that one.
The bar check symbol (pipe symbol) doesn't sync anything. It just checks
the musical moment and throws a warning if it's not zero.
Your music has some durations that cross bar lines. These durations mess
up the bar checks. Is there a reason you don't separate them into tied
groups so there are bar line breaks?
In this music you have melismata across rests. Do you really want to do
that? I don't know how I would sing a syllable across a rest.
You don't use extenders for melismata, but instead try to just use
hyphens. Is there a reason for that?
Here's the way I'd lay out your music, FWIW.
Carl S.
\version 2.18.0
\language english
% 't' as in 'test' or 'transcribing an existing score'
tBreak = { \break }
ficta = { \once \set suggestAccidentals = ##t }
addKey = { \key c \major \time 4/4 }
barSetup =
{
\hide Staff.BarLine % for the Mensurstriche: inside the staff hide the
barline
s1 | s1 | s1 | \tBreak s1 | s1 | %005
s1 | s1 | s1 | \tBreak s1 | s1 | %010
\undo \hide Staff.BarLine \bar || % final barline visible
}
staffOneNotes = \relative c'' {
g1 | g2 a2 | b2 g2 | r2 a2 | d2. c4 | %005
b2 a2 | r4 d4 d4 b4 | c4. b8 a8[ g8] a4. g8[ f8 e8] d4 a'2 g2 \ficta
fs4 | %010
}
staffOneWords = \lyricmode {
San -- cta Ma -- ri -- a, San -- cta Ma -- %005
ri -- a, suc -- cur -- re mi- __ _ _ _ _ _ _ _ _ _ _ _ %010
}
staffTwoNotes = \relative c' {
%\clef G_8
g2 c2~ | c4 d4 a2 | g4. a8 b8[ c8] d4 ~ | d4 cs4 d2 | r4 d2 d4 | %005
e2 f2 | d2 r2 | c2 f2~ | f4 d4 f2 | e2 d4. c8 | %010
}
staffTwoWords = \lyricmode {
San -- cta Ma -- ri -- a, San -- cta %05
Ma -- ri- __ _ _ _ _ _ _ a, suc -- cur -- re mi -- se- __ _ _ %10
}
#(set-global-staff-size 18)
\header {
title = Sancta Maria, succurre miseris
composer = Philippe Verdelot
tagline =
}
\score {
\transpose c' c' {
\new StaffGroup
\new Staff
\set Staff.instrumentName = #Superius
\new Voice = staffOne
\barSetup
{\addKey \staffOneNotes}
\new Lyrics \lyricsto staffOne \staffOneWords
\new Staff
\set Staff.instrumentName = #Contratenor
\new Voice = staffTwo
\barSetup
{ \addKey \staffTwoNotes}
\new Lyrics \lyricsto staffTwo \staffTwoWords
}
\layout {
indent = 6\cm
%#(layout-set-staff-size 18)
\context { \Score \hide SystemStartBracket }
\context { \Score barNumberVisibility = #(every-nth-bar-number-visible
5) }
\context { \Score \override BarNumber.break-visibility =
#end-of-line-invisible }
\context { \Score \override BarNumber.self-alignment-X = #LEFT }
\context { \Score \override BarNumber.font-size = #3 }
\context { \Staff \override InstrumentName.self-alignment-X = #RIGHT }
\context { \Voice \remove Forbid_line_break_engraver }
}
%\midi { }
}
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Re: Weirdness With Fonts and Font Tree Snippet
This is great information to have. Thanks for that tip! IC, Josh On Thu, Jan 2, 2014 at 7:11 PM, Carl Peterson carlopeter...@gmail.comwrote: On Thu, Jan 2, 2014 at 7:38 PM, Joshua Nichols josh.d.nich...@gmail.com wrote: Okay, so I did the obvious and went through the Fontbook and literally clicked and dragged the fonts into the computer (I guess that's the sys place) tab, and then I re-typeset the file: It worked... Well... there's for a lot of heartburn! Thank y'all for helping out! I can't believe that to get that effect it worked that *easily*. IC, Josh Indeed, I have found that on Mac OS X, the system is very picky about what it sees and doesn't see. For instance, I use the SkyFonts program to install fonts from the Google Fonts site. Apparently, it doesn't install them as system fonts, so if I want to use them in LilyPond (and PT Sans Narrow, one of the fonts in that collection, is the font I currently use for LilyPond), I have to go ahead and download the ZIP file and install them through FontBook, but almost every other program I use has no issue with it. I think Inkscape might be picky as well, but I don't do enough stuff with those fonts in that program to remember. Carl P. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
I've gone through and removed everything at the User level that is duplicated at the System level. This is great information. Thanks again for the tips! IC, Josh On Thu, Jan 2, 2014 at 8:22 PM, Carl Sorensen c_soren...@byu.edu wrote: On 1/2/14 10:51 AM, Joshua Nichols josh.d.nich...@gmail.com wrote: Thanks for your response Carl, Is the font installed at the User level or at the Computer level? I think it is both. I installed a user font (that was from the source) and that appeared on the user level... but the system had a font called Linux Libertine G which is native to LibreOffice (the WYSIWYG I use for docs). I've never tried using different fonts in LilyPond, but in R, there are problems with using a font that is defined both at the computer level and the user level. Native Mac applications seem to work just fine, but at least R (a linux-style application) has problems when a font is multiply defined. IIRC, FontBook will show you that problem if you look at your fonts in FontBook. I'd recommend that you remove the user font (you can always add it back) and see if that fixes anything. HTH, Carl S. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
Indeed, I have found that on Mac OS X, the system is very picky about what it sees and doesn't see. For instance, I use the SkyFonts program to install fonts from the Google Fonts site. Apparently, it doesn't install them as system fonts, so if I want to use them in LilyPond (and PT Sans Narrow, one of the fonts in that collection, is the font I currently use for LilyPond), I have to go ahead and download the ZIP file and install them through FontBook, but almost every other program I use has no issue with it. I think Inkscape might be picky as well, but I don't do enough stuff with those fonts in that program to remember. Hmm. The function `ly:font-config-display-fonts' (available via the `-dshow-available-fonts' command line option of lilypond) shows exactly which directories lilypond's fontconfig is looking into, besides a list of fonts it recognizes. It also lists the configuration files together with the directories fontconfig is searching for configuration files. Doesn't this work as expected? Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Another time model (related to the usability thread)
On Thu, 02 Jan 2014 17:31:24 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
It could also be something like
\attachAt #’verse {
R1
c’4 d' e’ f’
... }
Then it would end up extending the current \pushToTag functionality
by filling with rests the duration from the preceding musical moment/expression
to the tagged moment.
The \pushToTag method uses a complicated and flexible input structure, so
finding the preceding musical moment takes some work. The example you gave
earlier added music to a starting structure
global = {
\tag #'intro
{\time 4/4 s1*3 \time 3/4 s4*3 }
\tag #'verse
\time 5/4 s4*5*12
\tag #'bridge
{s4*5 \time 4/4 s1 }
\tag #'coda
\time 2/2 s1*9
\bar |. }
so if we insert both music and rests with an \attachAt#'verse, the rests go in
parallel with the skips between 'intro and 'verse structure, but start after
the end of any music we have \attachedAt#'intro, unless that attachment only
puts music on an ossia staff.
The toy implementation I posted earlier in this thread needs to see the
previous music, Rest or spacer, and and indication of the tag to rest until,
all in the same music sequence.
conductor = {
\tag #'intro \time 4/4 s1*3 \time 3/4 s4*3
\tag #'verse \time 5/4 s4*5*12
\tag #'bridge s4*5 \time 4/4 s1
\tag #'coda \time 2/2 s1*9 \bar |.}
coda = \tag#'coda {c'4 e' g' c'~c'1}
verse = \tag#'verse {c'4 d' e' f' g'}
\new Staff
\alignTo\conductor {
R1 \verse \stopStaff s1 \tag#'bridge \startStaff R1 \coda R1}
\conductor
I think the automatic-rest-length idea will be easier to use if it is
independent of \pushToTag.
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Re: why you don't contribute to Mutopia
I'd like to have some feedback from you. Which change in the Mutopia interface/decisions would make you start contributing or contributing more? I wanted to contribute with the 4th symphony of Schumann which was ready to be submitted. I had spent some time to adjust the page layout for A4 paper format and was not ready to spend more time to target the letter paper format. I still would like to put the symphony but do not find the extra time to do that and also, now the lilypond format is quite old (2.12), I would need to update to 2.18. So, I would say that when time misses, just a minor hurdle can stop the process. Cheers, Frédéric ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Numbers over double percent repeats
Am 03.01.2014 06:51, schrieb Daniel Rosen: How can I modify the code below so that it produces output more along the lines of the attachment (regarding the numbers over the percent repeats)? I want the number to express how many measures are being repeated, not how many repetitions. I think \set countPercentRepeats = ##t will do the job. HTH, Marc ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
