Re: Tilde causes error message: unrecognized string, not in text script or \lyricmode
It also compiles without error for me, Windows. Perhaps it's not a space
but a UTF-encoded character in the original code?
--
Phil Holmes
- Original Message -
From: Mark Stephen Mrotek carsonm...@ca.rr.com
To: 'Eyolf Østrem' ey...@oestrem.com; lilypond-user@gnu.org
Sent: Monday, October 13, 2014 1:02 AM
Subject: RE: Tilde causes error message: unrecognized string,not in text
script or \lyricmode
Eyolf,
Your snippet compiles without error message for me. I am using Lilypond
under Windows.
I notice that a space separates the two e from their ~. The space is not
between the two b and theirs.
Perhaps this is the source of the error message for you.
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Eyolf Østrem
Sent: Sunday, October 12, 2014 4:57 PM
To: lilypond-user@gnu.org
Subject: Tilde causes error message: unrecognized string, not in text
script or \lyricmode
If I try to run the following (either directly or as part of a score):
\relative c' {
\key e \minor
\time 4/4
r4 r8 e8 e fis g4 fis fis8 fis fis e dis e ~ e4 r8
e8 e fis g4 a a8 a a g a b~ b4 r8
b b b b4 c c8 c c b a b~ b4 r8
b8 b a g4 fis fis8 fis fis e dis e ~ e4 r8 }
I get the error message: unrecognized string, not in text script or
\lyricmode at the tildes in the first and last line. The es after the
tildes do not get written out. The two b~ work as expected, though, even
though everything but the pitches is the same as in the first line.
If I remove the tildes, everything works - except that I don't get the ties.
I'm running v. 2.18.2 under Arch Linux.
Eyolf
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Re: How to handle changing transpositions
Am 09.09.2014 21:44, schrieb Jan-Peter Voigt: Hi Kieren, I modified the example for the auto-transpose engraver a bit, so it uses a music and a global variable. I merged them in one Voice, so that the cue names are not printed twice. But that is not necessary for the transposition. If the music is in concert-pitch and transposed to instrument-pitch midi is OK. In the other direction print is OK, but midi is wrong. That is no problem to me, as I mostly enter music in concert-pitch and just have to display it in instrument pitch. One thing to take care of: When music is used twice - for example via repeat unfold - every event is transposed multiple times. That should be changed. HTH Yes, definitely. Now the handling of changing instruments works perfectly. The idea to print out the question in the console is a good idea, that way I could easily spot where to check carefully. Maybe it would be even better to print it as a clickable input-message . I had a look if I can change it but I think there is no location available so I was lost immediately ... Best and thank you very much Urs time to sleep now ;) Best, Jan-Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can I make a TextScript occupy no space, potentially colliding?
Richard Shann rich...@rshann.plus.com writes:
On Sun, 2014-10-12 at 17:49 +0100, Richard Shann wrote:
Perfect!
hmm, I spoke a little too soon. It seems that \with-dimensions kills
point-and-click. Understandable with 0 as the dimension, but actually
this doesn't seem to be the issue:
\version 2.18.0
\score {
{
a1
^\markup \with-dimensions #'(10 . -10) #'(10 . -10)
%\with-url #'some link
{\fontsize #12 A }
}
}
with good-sized dimension here there is no point and click.
They are not good-sized since the right edge is to left side of the left
edge, and the lower edge is above the upper edge.
--
David Kastrup
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Re: relative music inside music functions explodes when used twice
Janek Warchoł janek.lilyp...@gmail.com writes:
2014-10-12 12:45 GMT+02:00 David Kastrup d...@gnu.org:
I'm not even sure I understand _how_ you want the relativization to
happen. One after the other?
If you mean \musicII should be relativized after \music, that's
roughly what i want.
In that case, you can use
voiceDivisi =
#(define-music-function (parser location m1 m2) (ly:music? ly:music?)
(make-relative (m1 m2) #{ #m1 #m2 #}
#{
\tag divI { $m1 }
\tag divII { $m2 }
\tag together { \dynamicUp $m1 } \\ { \dynamicDown $m2 }
#}))
Seems to work! :)
How should i work around this? Maybe instead of using tags i should
write a function with a switch statement inside? I know that i can
put \relative command inside \voiceDivisi, but i'd like to avoid this
as it would add a lot of typing.
It seems like the ingenuity of my make-relative macro never really
caught on...
I've found https://code.google.com/p/lilypond/issues/detail?id=3118
and looked at input/regression/make-relative.ly but i don't think i
really understand what it does (and how).
Probably neither do I. Let's see.
(defmacro-public make-relative (variables reference music)
The list of pitch or music variables in @var{variables} is used as
a sequence for creating relativable music from @var{music}.
When the constructed music is used outside of @code{\\relative}, it
just reflects plugging in the @var{variables} into @var{music}.
The action inside of @code{\\relative}, however, is determined by
first relativizing the surrogate @var{reference} with the variables
plugged in and then using the variables relativized as a side effect
of relativizing @var{reference} for evaluating @var{music}.
Since pitches don't have the object identity required for tracing the
effect of the reference call, they are replaced @emph{only} for the
purpose of evaluating @var{reference} with simple pitched note events.
The surrogate @var{reference} expression has to be written with that
in mind. In addition, it must @emph{not} contain @emph{copies} of
music that is supposed to be relativized but rather the
@emph{originals}. This @emph{includes} the pitch expressions. As a
rule, inside of @code{#@{@dots{}#@}} variables must @emph{only} be
introduced using @code{#}, never via the copying construct @code{$}.
The reference expression will usually just be a sequential or chord
expression naming all variables in sequence, implying that following
music will be relativized according to the resulting pitch of the last
or first variable, respectively.
Since the usual purpose is to create more complex music from general
arguments and since music expression parts must not occur more than
once, one @emph{does} generally need to use copying operators in the
@emph{replacement} expression @var{music} when using an argument more
than once there. Using an argument more than once in @var{reference},
in contrast, does not make sense.
There is another fine point to mind: @var{music} must @emph{only}
contain freshly constructed elements or copied constructs. This will
be the case anyway for regular LilyPond code inside of
@code{#@{@dots{}#@}}, but any other elements (apart from the
@var{variables} themselves which are already copied) must be created
or copied as well.
The reason is that it is usually permitted to change music in-place as
long as one does a @var{ly:music-deep-copy} on it, and such a copy of
the whole resulting expression will @emph{not} be able to copy
variables/values inside of closures where the information for
relativization is being stored.
That's some DOC string alright. So how does it work? Short of the doc
string, the definition is
(defmacro-public make-relative (variables reference music)
(define ((make-relative::to-relative-callback variables music-call ref-call)
music pitch)
(let* ((ref-vars (map (lambda (v)
(if (ly:pitch? v)
(make-music 'NoteEvent 'pitch v)
(ly:music-deep-copy v)))
variables))
(after-pitch (ly:make-music-relative! (apply ref-call ref-vars)
pitch))
(actual-vars (map (lambda (v r)
(if (ly:pitch? v)
(ly:music-property r 'pitch)
r))
variables ref-vars))
(rel-music (apply music-call actual-vars)))
(set! (ly:music-property music 'element) rel-music)
after-pitch))
`(make-music 'RelativeOctaveMusic
'to-relative-callback
(,make-relative::to-relative-callback
(list ,@variables)
(lambda ,variables ,music)
(lambda ,variables ,reference))
'element ,music))
So it creates RelativeOctaveMusic (which is just a wrapper for
absolute and/or relativized music) but with an additional to-relative
Re: Tilde causes error message: unrecognized string, not in text script or \lyricmode
Eyolf Østrem ey...@oestrem.com writes:
If I try to run the following (either directly or as part of a score):
\relative c' {
\key e \minor
\time 4/4
r4 r8 e8 e fis g4 fis fis8 fis fis e dis e ~ e4 r8
e8 e fis g4 a a8 a a g a b~ b4 r8
b b b b4 c c8 c c b a b~ b4 r8
b8 b a g4 fis fis8 fis fis e dis e ~ e4 r8
}
I get the error message: unrecognized string, not in text script or
\lyricmode at the tildes in the first and last line. The es after the
tildes do not get written out. The two b~ work as expected, though,
even though everything but the pitches is the same as in the first line.
If I remove the tildes, everything works - except that I don't get the ties.
I suspect that either you did not copypaste this piece of source into
your mail but rather retyped it, or that your mail reader sanitizes
material.
As written, this will work without problems. However, the symptoms
sound like you might have entered a character like ̃, namely an actual
accent character combining with a previous character. That theory gains
weight by your mail posting actually showing blank characters in the
lines you indicated. So I suspect you had a blank there with a
following combining circumflex accent, but your mail software or your
copypaste buffer or whatever else sanitized this into a blank with a
normal ASCII tilde afterwards.
In the form it is not, it is valid LilyPond code.
--
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Re: Feedback Request for Music Fonts
Joram,
Here's the tuplet number font file. See what you think! Install it like
a normal font and then you can do this:
\transpose c c'
{
% default (Century Schoolbook)
\tuplet 3/2 { a8 a a }
% bold (Century Schoolbook) - closer to Bravura
\override TupletNumber.font-series = #'bold
\tuplet 3/2 { a a a }
% from Emmentaler (bold numbers) - your suggestion
\override TupletNumber.font-encoding = #'fetaText
\override TupletNumber.font-size = #-4
\tuplet 3/2 { a a a }
% tuplet number from Bravura - what you wanted!
\override TupletNumber.font-name = ProfondoTupletNumbers
\tuplet 3/2 { a a a }
}
Regards,
Abraham
On Sun, Oct 12, 2014 at 6:54 PM, Abraham Lee
tisimst.lilyp...@gmail.com wrote:
Joram,
On Sun, Oct 12, 2014 at 10:04 AM, Noeck noeck.marb...@gmx.de wrote:
Hi Abraham,
thanks for your reply.
\version 2.19.14
\transpose c c'
{
% default (Century Schoolbook)
\tuplet 3/2 { a8 a a }
% bold (Century Schoolbook) - closer to Bravura
\override TupletNumber.font-series = #'bold
\tuplet 3/2 { a a a }
% from Emmentaler (bold numbers) - your suggestion
\override TupletNumber.font-encoding = #'fetaText
\override TupletNumber.font-size = #-4
\tuplet 3/2 { a a a }
% tuplet number from Bravura (U+E883) - what I wanted!
\override TupletNumber.font-name = Bravura
\override TupletNumber.font-size = #3.5
\override TupletNumber #'text =
\tuplet 3/2 { a a a }
}
This example shows four different tuplet numbers. The last one is
what I
wanted: the dedicated Bravura tuplet number on code point U+E883.
To achieve that I had to put Bravura in /usr/share/fonts. I was
wondering why installing it under Ubuntu does not work and copying
into
/usr/share/fonts of the LP directory structure does not work,
neither.
From my experience, LP only looks for Century Schoolbook and the
music/brace fonts in that folder. Any other text font should be
installed in a regular system location. On Ubuntu, if you put Bravura
in /home/YOUR_USER_NAME/.local/share/fonts, then you should be able
to do what you tried above (manually, of course).
A real solution would be if this number would be calculated
automatically. But I couldn't get it to work:
\override TupletNumber #'text = #(integer-char
(+ 59520 (tuplet-number::calc-denominator-text)))
I am trying that out, because it would help to get a consistent style
for the new fonts including the text font part.
I agree. That is a great idea! I don't have enough Scheme experience
to know how to modify the text property like that, but that would
certainly be very nice. On the other hand, I could just create a
simple tuplet numerals file for your needs :) It would probably be
better to access the glyphs from the complete Bravura font file, but
sometimes you've got to take measures into your own hands and try
something simpler. I doubt Steinberg will ever be changing those
glyphs, so it's probably a safe bet.
2) Do you or does anyone know text fonts similar to the ones used
in
many old scores, like here:
http://javanese.imslp.info/files/imglnks/usimg/7/7f/IMSLP00115-Chopin_-_Ballade_No1.pdf
I've often looked for some nice fonts like those. A nice one I've
found
is called OldStandardTT. It's free and supports an extensive
character
set including Latin, Greek, and Cyrillic:
http://www.fontsquirrel.com/fonts/old-standard-TT
Just to share what I found yesterday:
http://www.fontsquirrel.com/fonts/DubielPlain
But I am not really convinced (there are some irregularities e.g. in
the
letter a).
Yeah, that one looks nice, but I agree that it's not as well
constructed as we would like.
Regards,
Abraham
ProfondoTupletNumbers.otf
Description: application/font-otf
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spacing of triplets
Hello,
The attached file, InPlace.pdf, is a scan of three measures of a thirty
seven measure movement. Notice the triplets in the lower staff. They are not
evenly spaced.
When I extract the code for these measures, extracted.ly, the triplets are
more evenly spaced, extracted.pdf.
Where should I look for a remedy?
Thank you for your kind attention.
Mark Stephen Mrotek
InPlace.pdf
Description: Adobe PDF document
\version 2.18.0
\score {
\new PianoStaff
\new Staff = upper
\relative c'' {
\clef treble
\key c \major
\time 3/4
aes,32 [ f' ees f ] aes, f' des f
bes, [ ees des ees ] bes ees des ees
f, [ ees' c ees ] f, ees' c ees |
f, [ des' c des ] f, des' bes des
ges, [ ces-3 bes ces ] ges ces-4 bes ces
des, [ ces' aes ces ] des, ces' aes ces |
des, [ bes' aes bes ] des, bes' ges bes
ees, [ aes ges aes ] ees aes ges aes
bes, [ aes' f bes ] bes, aes' f aes |
}
\new Staff = lower
\relative c {
\clef bass
\key c \major
\time 3/4
\override TupletBracket #'bracket-visibility = ##f
\override TupletNumber #'stencil = ##f
des, des' 8 [ r16 \times 2/3 { des'32_4 ( ees f ] }
g8 ) [ r16 \times 2/3 { ees32 ( f g ] }
a8 ) [ r16 \times 2/3 { f32 ( g a ] } |
bes8 ) [ r16 \times 2/3 { bes,32_4 ( c des] }
ees8 ) [ r16 \times 2/3 { ces32 ( d ees ] }
f8 ) [ r16 \times 2/3 { d32 ( ees f ] } |
ges8 ) [ r16 \times 2/3 { ges,32 ( aes bes ] }
c8 ) [ r16 \times 2/3 { aes32 ( bes c ] }
d!8 ) [ r16 \times 2/3 { bes32 ( c d ] } |
ees4 )
}
}
extracted.pdf
Description: Adobe PDF document
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Re: spacing of triplets
Hello, as musician, I find more readable the ly-version. Cant say more Franck 2014-10-13 10:30 GMT-05:00, Mark Stephen Mrotek carsonm...@ca.rr.com: Hello, The attached file, InPlace.pdf, is a scan of three measures of a thirty seven measure movement. Notice the triplets in the lower staff. They are not evenly spaced. When I extract the code for these measures, extracted.ly, the triplets are more evenly spaced, extracted.pdf. Where should I look for a remedy? Thank you for your kind attention. Mark Stephen Mrotek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adjusting overall vertical spacing (in general)
Paul Morris wrote If you give it a try, you'll want to use this newer and more flexible version I just submitted to OpenLilyLib. Now in OLL, with more documentation: https://github.com/openlilylib/openlilylib/tree/master/notation-snippets/scale-vertical-spacing Cheers, -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/Adjusting-overall-vertical-spacing-in-general-tp166087p167503.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: spacing of triplets
Frank, Agreed, yet that is not how it appears when the entire movement is printed. Mark -Original Message- From: Alicuota618 [mailto:alicuota...@gmail.com] Sent: Monday, October 13, 2014 9:18 AM To: Mark Stephen Mrotek Cc: lilypond-user@gnu.org Subject: Re: spacing of triplets Hello, as musician, I find more readable the ly-version. Cant say more Franck 2014-10-13 10:30 GMT-05:00, Mark Stephen Mrotek carsonm...@ca.rr.com: Hello, The attached file, InPlace.pdf, is a scan of three measures of a thirty seven measure movement. Notice the triplets in the lower staff. They are not evenly spaced. When I extract the code for these measures, extracted.ly, the triplets are more evenly spaced, extracted.pdf. Where should I look for a remedy? Thank you for your kind attention. Mark Stephen Mrotek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: spacing of triplets
There must be some other thing injected in a prior spot of your ly code for the entire movement that is causing that peculiar spacing to show up. I would start backtracking from the problem area and add chunks of code till you find the area that is actually causing the issue. Or look for spacing commands you may have introduced elsewhere that might cause this weirdness. Best of luck Shane On Mon, Oct 13, 2014 at 12:28 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Frank, Agreed, yet that is not how it appears when the entire movement is printed. Mark -Original Message- From: Alicuota618 [mailto:alicuota...@gmail.com] Sent: Monday, October 13, 2014 9:18 AM To: Mark Stephen Mrotek Cc: lilypond-user@gnu.org Subject: Re: spacing of triplets Hello, as musician, I find more readable the ly-version. Cant say more Franck 2014-10-13 10:30 GMT-05:00, Mark Stephen Mrotek carsonm...@ca.rr.com: Hello, The attached file, InPlace.pdf, is a scan of three measures of a thirty seven measure movement. Notice the triplets in the lower staff. They are not evenly spaced. When I extract the code for these measures, extracted.ly, the triplets are more evenly spaced, extracted.pdf. Where should I look for a remedy? Thank you for your kind attention. Mark Stephen Mrotek ___ 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: Feedback Request for Music Fonts
On Mon, Oct 13, 2014 at 2:01 AM, Martin Tarenskeen
m.tarensk...@zonnet.nl wrote:
Hi,
When I use the LilyJAZZ fonts and style, the ' is missing in titles
and texts. I don't mind if not every exotic unicode character in the
world is supported in every font, but in this case it's difficult to
find Jazz titles and lyrics, most of them in English, that don't use
the '
You can't take that away from me
And even that title doesn't work :-)
--
MT
Martin,
Are using the LilyJAZZ text font that I've bundled? Because it
definitely has the apostrophe (') and quotation mark (). It doesn't
(yet), however, have the angled single (‘ ’) and double quotation
marks (“ ”), but I can add those today if that's what you are
needing.
Regards,
Abraham
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RE: spacing of triplets
Shane, Thank you for the reply and the suggestion. I had hoped that something more efficient than backtracking would be available. Just another opportunity to learn more! Mark -Original Message- From: Shane Brandes [mailto:sh...@grayskies.net] Sent: Monday, October 13, 2014 9:35 AM To: Mark Stephen Mrotek Cc: Alicuota618; LilyPond User Group Subject: Re: spacing of triplets There must be some other thing injected in a prior spot of your ly code for the entire movement that is causing that peculiar spacing to show up. I would start backtracking from the problem area and add chunks of code till you find the area that is actually causing the issue. Or look for spacing commands you may have introduced elsewhere that might cause this weirdness. Best of luck Shane On Mon, Oct 13, 2014 at 12:28 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Frank, Agreed, yet that is not how it appears when the entire movement is printed. Mark -Original Message- From: Alicuota618 [mailto:alicuota...@gmail.com] Sent: Monday, October 13, 2014 9:18 AM To: Mark Stephen Mrotek Cc: lilypond-user@gnu.org Subject: Re: spacing of triplets Hello, as musician, I find more readable the ly-version. Cant say more Franck 2014-10-13 10:30 GMT-05:00, Mark Stephen Mrotek carsonm...@ca.rr.com: Hello, The attached file, InPlace.pdf, is a scan of three measures of a thirty seven measure movement. Notice the triplets in the lower staff. They are not evenly spaced. When I extract the code for these measures, extracted.ly, the triplets are more evenly spaced, extracted.pdf. Where should I look for a remedy? Thank you for your kind attention. Mark Stephen Mrotek ___ 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: spacing of triplets
On Mon, Oct 13, 2014 at 12:09 PM, Mark Stephen Mrotek When I extract the code for these measures, extracted.ly, the triplets are more evenly spaced, extracted.pdf. Where should I look for a remedy? Thank you for your kind attention. Mark Stephen Mrotek Mark, The problem may be that the context has caused LilyPond to use a different base duration for spacing. I recognize this as part of the Mozart Fantasia in c minor--correct? If that's what it is, the section before this is rather different rhythmically, and I assume that the program continues to use a base duration for spacing that is too large for the passage you've posted. You might want to set a \newSpacingSection here. Hope this helps, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Tuplet Number Down
I want the tuplet number to be below the notes. I am evidently doing
something wrong.
\version 2.18.2
\language english
\relative c' {
\override TupletNumber.direction = #DOWN
\tuplet 3/2 { c8 d c } c4 c c
}
}
Knute Snortum
(via Gmail)
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Re: Tuplet Number Down
2014-10-13 20:08 GMT+02:00 Knute Snortum ksnor...@gmail.com:
I want the tuplet number to be below the notes. I am evidently doing
something wrong.
Try :
\version 2.18.2
\language english
\relative c' {
\tweak direction #DOWN
\tuplet 3/2 { c8 d c } c4 c c
}
HTH,
Pierre
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Re: Tuplet Number Down
The point of this is you don't want the tuplet *number* down but the whole
thing.
Am 13. Oktober 2014 20:13:01 MESZ, schrieb Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
2014-10-13 20:08 GMT+02:00 Knute Snortum ksnor...@gmail.com:
I want the tuplet number to be below the notes. I am evidently doing
something wrong.
Try :
\version 2.18.2
\language english
\relative c' {
\tweak direction #DOWN
\tuplet 3/2 { c8 d c } c4 c c
}
HTH,
Pierre
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parallel music with selective repeats
I have a piece of music that needs to have all staves but one repeat, and that
non-repeating staff is twice as long as the repeating. I tried the following
but got no joy:
\version 2.19.15
musicA = \relative b' { c d e f }
musicB = \relative f' { f e d c }
\score {
\new Staff { \musicA \musicB}
\new ChoirStaff
\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicA }
\layout {}
\midi {}
}
The repeat bar is in all three staves, with musicB following on the first staff.
If I add the unfoldRepeats command to the score, all three stave in the pdf
are as I wish, and the midi file agrees.
I have tried a couple of things to suppress the repeat bar line on the first
staff:
* adding \bar | between musicA and musicB
* adding \set Score.repeatCommands = #'(#f) both before and after \musicA in
the 1st staff
* adding \with { \remove Volta Engraver } to the first staff
but the repeat bar is printed in the 1st staff every time.
Is there a way to suppress that repeat sign? How?
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RE: spacing of triplets
David, “\newSpacingSection” worked, although it had to be inserted before each measure. Is that expected? Thank you. Mark From: David Nalesnik [mailto:david.nales...@gmail.com] Sent: Monday, October 13, 2014 10:49 AM To: Mark Stephen Mrotek Cc: Shane Brandes; LilyPond User Group Subject: Re: spacing of triplets On Mon, Oct 13, 2014 at 12:09 PM, Mark Stephen Mrotek When I extract the code for these measures, extracted.ly, the triplets are more evenly spaced, extracted.pdf. Where should I look for a remedy? Thank you for your kind attention. Mark Stephen Mrotek Mark, The problem may be that the context has caused LilyPond to use a different base duration for spacing. I recognize this as part of the Mozart Fantasia in c minor--correct? If that's what it is, the section before this is rather different rhythmically, and I assume that the program continues to use a base duration for spacing that is too large for the passage you've posted. You might want to set a \newSpacingSection here. Hope this helps, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tuplet Number Down
On Mon, Oct 13, 2014 at 12:24 PM, Urs Liska u...@openlilylib.org wrote: The point of this is you don't want the tuplet *number* down but the whole thing. Knute, In other words, instead of TupletNumber, use TupletBracket. You can also use the shortcut \tupletDown :) Regards, Abraham P.S. Can anyone tell us why TupletNumber supports the 'direction property at all? I tried them all (UP, DOWN, CENTER, RIGHT, LEFT) and it did nothing. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: parallel music with selective repeats
Patrick or Cynthia Karl pck...@mac.com writes:
I have a piece of music that needs to have all staves but one repeat, and
that non-repeating staff is twice as long as the repeating. I tried the
following but got no joy:
\version 2.19.15
musicA = \relative b' { c d e f }
musicB = \relative f' { f e d c }
\score {
\new Staff { \musicA \musicB}
\new ChoirStaff
\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicA }
\layout {}
\midi {}
}
The repeat bar is in all three staves, with musicB following on the first
staff.
If I add the unfoldRepeats command to the score, all three stave in the pdf
are as I wish, and the midi file agrees.
I have tried a couple of things to suppress the repeat bar line on the first
staff:
* adding \bar | between musicA and musicB
* adding \set Score.repeatCommands = #'(#f) both before and after \musicA
in the 1st staff
* adding \with { \remove Volta Engraver } to the first staff
but the repeat bar is printed in the 1st staff every time.
Is there a way to suppress that repeat sign? How?
\layout {
\context {
\Score \remove Timing_translator
\remove Default_bar_line_engraver
\remove Repeat_acknowledge_engraver
}
\context {
\Staff \consists Timing_translator
\consists Default_bar_line_engraver
\consists Repeat_acknowledge_engraver
}
}
But it seems like an astonishingly bad idea.
--
David Kastrup
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Re: practice/volunteer opportunities
Hi Andrew, welcome to the community! As i'm working on the same project as Urs does, i do encourage you to follow the links he sent :) best, Janek 2014-10-12 18:03 GMT+02:00 truthling heartsa...@gmail.com: Greetings, all! This is my first post and I would firstly like to express my gratitude and enthusiasm for Lilypond. I have recently discovered it and it has been immensely helpful and fun! My name is Andrew and I am a music theory/classical guitar student. I am looking for opportunities to develop my Lilypond knowledge and, skills and would love to take any opportunities to assist with your engraving projects, as a way to hone my skills. So if you have any projects underway that you could use some help, let me know and I would be glad to offer my time and effort. Cheers! Andrew -- View this message in context: http://lilypond.1069038.n5.nabble.com/practice-volunteer-opportunities-tp167462.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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feedback Request for Music Fonts
On Mon, Oct 13, 2014 at 11:05 AM, Abraham Lee
tisimst.lilyp...@gmail.com wrote:
On Mon, Oct 13, 2014 at 2:01 AM, Martin Tarenskeen
m.tarensk...@zonnet.nl wrote:
Hi,
When I use the LilyJAZZ fonts and style, the ' is missing in titles
and texts. I don't mind if not every exotic unicode character in the
world is supported in every font, but in this case it's difficult to
find Jazz titles and lyrics, most of them in English, that don't use
the '
You can't take that away from me
And even that title doesn't work :-)
--
MT
Martin,
Are using the LilyJAZZ text font that I've bundled? Because it
definitely has the apostrophe (') and quotation mark (). It doesn't
(yet), however, have the angled single (‘ ’) and double quotation
marks (“ ”), but I can add those today if that's what you are
needing.
Regards,
Abraham
Martin,
Actually, I take that back. I checked the font file and I found that
all of the above marks are available in the current LilyJAZZ Text font.
I've attached a sample as proof. Let me know what you find out.
\version 2.18.2
\include LilyJAZZ.ily
\markup { \You can't take that away from me\ }
\markup { ‘Single quoted’ }
\markup { “Double quoted” }
Regards,
Abraham
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Re: Automatic ottava handling
Awesome work, David! I think it would be great to actually have some default ottava settings in official lilypond (e.g. something like \ottavate #4 #-4). best, Janek 2014-10-12 21:07 GMT+02:00 David Nalesnik david.nales...@gmail.com: Hi, On Sat, Oct 11, 2014 at 9:05 PM, David Nalesnik I'll look into fixing up build-new-elts so there won't be so much duplication of code. Then it will be a lot cleaner to deals with bassas, OK, now it will provide automatic bassas as well. The function \ottavate now takes two numbers, one for the upper threshold and another for the lower. I decided to specify the lower threshold in negative numbers, but that could be changed. If you want to turn off one or the other, you can just pick a number out of range. (So, for example, you can ensure no bassas with treble clef.) Let me know how this works for you! Enjoy, David ___ 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: lilypond-user Digest, Vol 143, Issue 83
Message: 5
Date: Mon, 13 Oct 2014 21:08:41 +0200
From: David Kastrup d...@gnu.org
Subject: Re: parallel music with selective repeats
Patrick or Cynthia Karl pck...@mac.com writes:
I have a piece of music that needs to have all staves but one repeat, and
that non-repeating staff is twice as long as the repeating. I tried the
following but got no joy:
\version 2.19.15
musicA = \relative b' { c d e f }
musicB = \relative f' { f e d c }
\score {
\new Staff { \musicA \musicB}
\new ChoirStaff
\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicA }
\layout {}
\midi {}
}
The repeat bar is in all three staves, with musicB following on the first
staff.
If I add the unfoldRepeats command to the score, all three stave in the
pdf are as I wish, and the midi file agrees.
I have tried a couple of things to suppress the repeat bar line on the first
staff:
* adding \bar | between musicA and musicB
* adding \set Score.repeatCommands = #'(#f) both before and after \musicA
in the 1st staff
* adding \with { \remove Volta Engraver } to the first staff
but the repeat bar is printed in the 1st staff every time.
Is there a way to suppress that repeat sign? How?
\layout {
\context {
\Score \remove Timing_translator
\remove Default_bar_line_engraver
\remove Repeat_acknowledge_engraver
}
\context {
\Staff \consists Timing_translator
\consists Default_bar_line_engraver
\consists Repeat_acknowledge_engraver
}
}
But it seems like an astonishingly bad idea.
Why? It seems like an outstandingly good idea to me.
The original piece had the equivalent of :
musicA = \relative b' { c d e f }
musicB = \relative c'' { f e d c }
\score {
\new ChoirStaff
\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicB }
\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicA }
\layout {}
\midi {}
}
with a note that the first staff was to be played the first time, and a note
that the second staff was to be played the second time. I didn't see how that
would generate a desired midi file. Is there a way?
Anyway, with your method I get an accurate printed score and an accurate midi
file. Thanks.
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Slash Chords
How do you get LilyPond to display slash chords in the chord name? I'm trying to print C Maj 7/Bb and D/F# in my scores. Thanks, Keith Luke ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tuplet Number Down
Hi Abraham, 2014-10-13 21:03 GMT+02:00 Abraham Lee tisimst.lilyp...@gmail.com: P.S. Can anyone tell us why TupletNumber supports the 'direction property at all? I tried them all (UP, DOWN, CENTER, RIGHT, LEFT) and it did nothing. I can't tell. Probably for historical reasons. Actually, tuplet numbers are always placed according to the position of the bracket, hidden or not. At least until v2.18. Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slash Chords
Am 13.10.2014 um 22:45 schrieb keith Luke: How do you get LilyPond to display slash chords in the chord name? I'm trying to print C Maj 7/Bb and D/F# in my scores. http://lilypond.org/doc/v2.18/Documentation/notation/displaying-chords documents chord names notation. Side note, also to others: Looking up ‘slash chord’ in http://lilypond.org/doc/v2.18/Documentation/notation/lilypond-index#lilypond-index_cp_letter-S will give a hint, since slashChordSeparator from the section on customizing chord names is indexed; yet it would be much better to have an entry for Slash chord referencing the above linked section. Could we do that? Yours, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feedback Request for Music Fonts
Hi Abraham,
thanks for all your efforts to help here. Thanks for your font file. I
didn’t say it before, but the tuplet number was just a first test. My
aim was to imitate all the Bravura style consistently (including bass
figure numbers, analysis numbers and symbols etc. – everything that is
not covered by the music font. Using the default SMuFL layout would be a
better approach in my eyes. The SMuFL is fixed with version 1.0 (at
least they tell so) and the provided json makes it even more safe.
I also worked on it and I slowly get a bit closer – python would be so
much easier for me than scheme. Here is a function that works for
denominators up to 9 (which is the numerator after the \tuplet change).
Extending it to arbitrary numbers is now only a matter of time.
\version 2.19.14
\include custom-music-fonts/smufl/definitions.ily
#(define-public (tuplet-number::calc-denominator-smufl-text grob)
(let* ((number (tuplet-number::calc-denominator-text grob)) )
(markup #:smuflglyph (string-append tuplet number
\transpose c c'
{
\override TupletNumber #'font-size = 0
\override TupletNumber #'text =
#tuplet-number::calc-denominator-smufl-text
\tuplet 3/2 { a8 a a }
\tuplet 4/3 {a a a a }
\tuplet 9/2 { a a a a a a a a a }
\tuplet 12/2 { a a a }
}
Cheers,
Joram
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Re: Feedback Request for Music Fonts
Hi Abraham,
I have another topic or question:
Is it possible to switch the music font for a staff or even a measure
with your approach? Or does it only work in the \paper environment.
It would be cool for comparisons of fonts in the same file like here
(using oll):
\version 2.18.0
\include custom-music-fonts/smufl/definitions.ily
music = \relative c' {
\clef alto
\time 3/4
c4-.(\f\ d4-. es4-.) |
\time 4/4
fis8.---\trill\sfz\ e!16\downbow d16-\! r16 r8 c2-\prall |
\time 2/2
\clef treble
r2-\fermata c8( eeh8)-^ \tuplet 3/2 { eeh8( gisih8 b')-! } |
}
\new Staff \with { instrumentName = Feta } \music
\new Staff \with { \bravuraOn instrumentName = Bravura } \music
Just changing the font name of all objects does not seem to work.
Cheers,
Joram
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Completion heads engraver
Does anyone know how to get the completion heads engraver assigned to one voice
to play nicely with fractional values? Compare the two scores below:
\score {
\new Staff {
\new Voice \with {
\remove Note_heads_engravaer
\consists Completion_heads_engraver
} \relative c'' {
\time 2/4
a1*5/8 a a a
} }
\new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a
}
}
}
\score {
\new Staff {
\new Voice \relative c'' {
\time 2/4
a1*5/8 a a a
}
}
\new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a
}
}
\layout { \context { \Voice \remove Note_heads_engraver
\consists Completion_heads_engraver }
}}
I’d like the two scores to yield the result of the second one while being able
to consists and remove engravers on a voice-by-voice basis.
Cheers,
MS
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Re: Completion heads engraver
Hi Mike,
could it be that you just had a typo in your example (engravaer instead
of engraver) and additional brackets?
This works for me:
\version 2.18.2
\score {
\new Staff
\new Voice \with {
\remove Note_heads_engraver
\consists Completion_heads_engraver
} \relative c'' {
\time 2/4
a1*5/8 a a a
}
\new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a
}
}
\score {
\new Staff
\new Voice \relative c'' {
\time 2/4
a1*5/8 a a a
}
\new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a
}
\layout { \context { \Voice \remove Note_heads_engraver
\consists Completion_heads_engraver }
}
}
I put the \layout in the score to not affect the first score.
For me, they yield the same result as you wanted.
Cheers,
Joram
Am 14.10.2014 um 00:17 schrieb Mike Solomon:
\score {
\new Staff {
\new Voice \with {
\remove Note_heads_engravaer
\consists Completion_heads_engraver
} \relative c'' {
\time 2/4
a1*5/8 a a a
} }
\new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a
}
}
}
\score {
\new Staff {
\new Voice \relative c'' {
\time 2/4
a1*5/8 a a a
}
}
\new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a
}
}
\layout { \context { \Voice \remove Note_heads_engraver
\consists Completion_heads_engraver }
}}
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Re: Automatic ottava handling
Hi,
On Mon, Oct 13, 2014 at 1:18 PM, David Bellows davebell...@gmail.com
wrote:
OK, I've now played around with it and it works very nicely and will be
easy to integrate into my software. You've already put a lot of work into
this so I hate to point out any of my peculiar preferences, but just in
case you feel like putting even more time into it here they are:
1. Add the 15va/vb marking as well.
Done.
2. I'm not sure what standard practice is but you'll see in the score that
my software produces it does not extend the ottava marking over rests. My
music tends to have a lot of rests (a consequence of how it automatically
changes staves) so it has a big effect on the overall look.
Fixed.
Standard practice is that an ottava should extend across rests if the note
afterwards takes the ottava, too. If the rest is sufficiently long, the
ottava is broken.
I've incorporated the behavior you like, but I definitely believe that
there should be a choice for the user to extend across rests. The function
ought to be able to detect whether the ottava can extend: there are rests
of sufficient length and the note after the rest needs the ottava.
Under no circumstances should an ottava end over a rest, like you see on
the version of your piece using \ottavate!
3. Change the text. In my score I just use 8 and 15 which given how
crowded the score gets at times makes a big difference.
It turns out that \set Staff.ottavation = #8 and the like have to be used
after \ottava #1, so I had to work it into the function.
In the future I could add an argument to the \ottavate to allow user
variations--like 8b, for example. Right now, I hardcoded 8 and 15,
as in your score.
You select the version--default or short names--with a boolean value--that
is ##t (short), ##f (default).
%%%
USAGE NOTES:
Take the following example:
musOne = \relative c''' {
\clef treble
g2 a b c d e f g a b c d e f g a b c d e f g
}
{
\ottavate #'(4 . 7) #'(-3 . -6) ##t \musOne
}
##t selects the shortened names 8 and 15
(4 . 7) specifies the range for 8: any note having 4-7 ledger lines
(inclusive) gets an 8. Anything above this will get 15.
(-3 . -6) specifies the range for 15: here the range is 3-6 ledger
lines. I like the negative numbers because they are visually more
expressive, though of course, there's no sense to negative numbers of
ledger lines
Chords are assigned ottavas based on the average of the ledger-line count
of their constituent notes. I'm sure there's a better algorithm. If
you're more mathematically able than me, please feel free to suggest
something a bit more elegant :)
In the future, there ought to be some analysis of groups of notes. So, for
example, an out-of-range note within a group of notes receiving an ottava
doesn't break the line. But I'd like to make sure what I have now works
before I start enhancing it.
Thanks again for the work you've put into this!
You're very welcome.
--David
\version 2.19.10
#(define (ledger-line-no middle-C-pos p)
Returns the number of ledger-lines a pitch @var{p} will have with
middle C position @var{middle-C-pos} expressed as staff-steps from the
middle staff line.
(let* ((ps (ly:pitch-steps p))
(mid-staff-steps (- middle-C-pos))
(top-line (+ mid-staff-steps 4))
(bottom-line (- mid-staff-steps 4))
(above? ( ps top-line))
(below? ( ps bottom-line))
(steps-outside-staff
(cond
(below? (- ps bottom-line))
(above? (- ps top-line))
(else 0
(truncate (/ steps-outside-staff 2
#(define (find-clefMiddleCPosition mus)
(let ((clef-pos -6)) ; treble is default
(for-some-music
(lambda (x)
(let ((n (ly:music-property x 'symbol)))
(and (eq? n 'middleCClefPosition)
(set! clef-pos (ly:music-property x 'value)
mus)
clef-pos))
#(define (make-ottava-music arg)
(list (make-music 'OttavaMusic 'ottava-number arg)))
ottavate =
#(define-music-function (parser location upper lower short-name? mus)
(number-pair? number-pair? boolean? ly:music?)
Create ottavas for music based on numbers of ledger lines. Both @var{upper}
and @var{lower} are pairs specifying a range of ledger lines: @var{upper}
determines @code{8va} and @code{15ma}, and @var{lower} determines @var{8vb} and
@var{15mb}. Within this range (inclusive), an @code{8va} or @code{8ba} will
be created. Notes with numbers of ledger lines exceeding these ranges will be
assigned @code{15ma} or @code{15mb}.
Numbers of ledger lines above the staff are specified in @var{upper} as
positive integers, while ledger lines below the staff are specified in @var{lower}
as negative numbers.
The numbers of ledger lines within chords are averaged.
The strings used for ottavas are selected by @var{short-name?}, which accepts
a boolean. A setting of @code{#f} chooses the default strings, while @code{#t}
uses the shorter @code{8}
Re: Automatic ottava handling
On Mon, Oct 13, 2014 at 3:01 PM, Janek Warchoł janek.lilyp...@gmail.com wrote: Awesome work, David! Thanks! I think it would be great to actually have some default ottava settings in official lilypond (e.g. something like \ottavate #4 #-4). I think so too, but I'd like for the function to be more intelligent first :) --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feedback Request for Music Fonts
Joram,
On Mon, Oct 13, 2014 at 4:14 PM, Noeck noeck.marb...@gmx.de wrote:
Is it possible to switch the music font for a staff or even a measure
with your approach? Or does it only work in the \paper environment.
It would be cool for comparisons of fonts in the same file like here
(using oll):
\version 2.18.0
\include custom-music-fonts/smufl/definitions.ily
music = \relative c' {
\clef alto
\time 3/4
c4-.(\f\ d4-. es4-.) |
\time 4/4
fis8.---\trill\sfz\ e!16\downbow d16-\! r16 r8 c2-\prall |
\time 2/2
\clef treble
r2-\fermata c8( eeh8)-^ \tuplet 3/2 { eeh8( gisih8 b')-! } |
}
\new Staff \with { instrumentName = Feta } \music
\new Staff \with { \bravuraOn instrumentName = Bravura } \music
Just changing the font name of all objects does not seem to work.
Cheers,
Joram
YES!, this can be done quite easily. As I explained on my personal
website (the link is found near the bottom of fonts.openlilylib.org),
https://sites.google.com/site/tisimst/Home/custom-font-how-to#localized-font-changes
You can use another built-in function add-music-font to provide
instant access to any of the music fonts I've published (with one
kind-of-caveat I'll explain in a moment). The add-music-fonts
function puts associates the music fonts with the proper glyph encoding
(i.e., NOT latin-1, which is what the text fonts use). For example,
say we wanted to make Profondo locally available, we would do something
like:
\paper {
#(add-music-fonts fonts
'profondo % --- this is the variable you will use to access the
font
profondo % --- the music font name
emmentaler % --- the piano brace font name
feta-design-size-mapping % --- required, don't change
(/ staff-height pt 20))
}
At this point, Emmentaler is still the global document notation font.
However, whenever you want to change any notation element to be from
the Profondo font, all you need to do is:
\override [LayoutObject].font-family = #'profondo
This can be done on-the-fly like any other override or score-wide in a
\layout block.
THE KIND-OF-CAVEAT
It's not really a caveat, but here's the only catch to changing music
fonts this way. After a while of playing around with LP and its font
mechanisms, I realized that this is NOT a great way to change the
global document music font. If you do some searching online, you might
find something like this (which is similar to what you'll find in
ly/paper-defaults-init.ly):
\paper {
#(define font-defaults
'((font-family . profondo) (font-encoding . fetaMusic)))
}
The reason this isn't a great way to change the font globally is
because it doesn't catch every layout object. You have to add
additional \layout overrides to DynamicText, Fingering, Script,
TrillSpanner, and a host of other layout objects in order to get
everything. BUT, if all you want is a local \override, then the syntax
I showed above is all you need. Now you can write variables to change
things just like is done with \smuflOn and \bravuraOn.
HTH,
Abraham
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