change the font for all markups

[Ole Schmidt]

Hi,

What is the way to change the font of all markups into the \typewriter font?
I've tried what is suggested in the manual:

 (#(define fonts
(make-pango-font-tree "Times New Roman"
  "Nimbus Sans"
  "Luxi Mono"
  (/ staff-height pt 20)))

the markups font did not change.



thanks,

ole







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Re: change the font for all markups

[Noeck]

Hi,

this works for me (taken from Frescobaldi Insert > Document fonts …):

\paper {
  fonts = #
  (make-pango-font-tree
"Times New Roman"
"Nimbus Sans"
"Luxi Mono"
   (/ (* staff-height pt) 2.5))
}
{ a^\markup { "Test" \typewriter "code" } }

Of course, the fonts must be installed.

HTH,
Joram

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Re: change the font for all markups

[Noeck]

Hi Ole,

by the way: your example also works for me if you omit the first parenthesis:
#(define fonts
instead of
(#(define fonts

>  (#(define fonts
> (make-pango-font-tree "Times New Roman"
>   "Nimbus Sans"
>   "Luxi Mono"
>   (/ staff-height pt 20)))

Cheers,
Joram

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Re: change the font for all markups

[Ole Schmidt]

Am 12.02.2015 um 12:04 schrieb Noeck :

> Hi,
> 
> this works for me (taken from Frescobaldi Insert > Document fonts …):
> 
> \paper {
>  fonts = #
>  (make-pango-font-tree
>"Times New Roman"
>"Nimbus Sans"
>"Luxi Mono"
>   (/ (* staff-height pt) 2.5))
> }
> { a^\markup { "Test" \typewriter "code" } }
> 
> Of course, the fonts must be installed.
> 
> HTH,
> Joram
> 
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Thanks, but I'am looking for a solution where the \typewriter in the markup is 
not neccecary.
I have lots of markups and don't want to change them all manually.


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variable in markup possible?

[Ole Schmidt]

Hi,

Is it possible to use a variable inside a markup, like

def = { \center-column {

\combine
  \draw-line #'(0 . 6)
  \arrow-head #Y #DOWN ##f
  }
}


{c1^\markup {def}}


thanks,

ole












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Re: change the font for all markups

[Richard Shann]

On Thu, 2015-02-12 at 12:20 +0100, Ole Schmidt wrote:
> Am 12.02.2015 um 12:04 schrieb Noeck :
> 
> > Hi,
> > 
> > this works for me (taken from Frescobaldi Insert > Document fonts …):
> > 
> > \paper {
> >  fonts = #
> >  (make-pango-font-tree
> >"Times New Roman"
> >"Nimbus Sans"
> >"Luxi Mono"
> >   (/ (* staff-height pt) 2.5))
> > }
> > { a^\markup { "Test" \typewriter "code" } }
> > 
> > Of course, the fonts must be installed.

replace "Times New Roman" with "Luxi Mono" or whatever typerwriter font
you have, the what would have been in Times will come out in Mono...

Richard


> > 
> > HTH,
> > Joram
> > 
> > ___
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> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> 
> Thanks, but I'am looking for a solution where the \typewriter in the markup 
> is not neccecary.
> I have lots of markups and don't want to change them all manually.
> 
> 
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Re: change the font for all markups

[Noeck]

Hi Ole,

> Thanks, but I'am looking for a solution where the \typewriter in the markup is
not neccecary.
> I have lots of markups and don't want to change them all manually.

then I misunderstood your question. The three fonts in this command are
serif (default), sans-serif (\sans) and mono-space (\typewriter).
So this will set all fonts to the typewriter (note the change in the first 
font):

\paper {
  fonts = #
  (make-pango-font-tree
   "Ubuntu Mono"
   "Linux Biolinum O"
   "Ubuntu Mono"
   (/ (* staff-height pt) 2.5))
}

If you have Luxi Mono installed, it should work with it just the same (instead
of Ubuntu Mono).

HTH,
Joram


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Re: variable in markup possible?

[Noeck]

Hi Ole,

> Is it possible to use a variable inside a markup

Yes. With two modifications to your code:
1. The definition of def must be a markup (insert \markup before the 
\center-column)
2. You have to call a variable with a backslash (\def).
The definitions of a variable is: var = …
The usage of a variable is: \var


def = \markup \center-column {
  \combine
  \draw-line #'(0 . 6)
  \arrow-head #Y #DOWN ##f
}

{ c1^\markup {\def} }

Cheers,
Joram

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Re: change the font for all markups

[Ole Schmidt]

Am 12.02.2015 um 11:50 schrieb Richard Shann :

> On Thu, 2015-02-12 at 12:20 +0100, Ole Schmidt wrote:
>> Am 12.02.2015 um 12:04 schrieb Noeck :
>> 
>>> Hi,
>>> 
>>> this works for me (taken from Frescobaldi Insert > Document fonts …):
>>> 
>>> \paper {
>>> fonts = #
>>> (make-pango-font-tree
>>>   "Times New Roman"
>>>   "Nimbus Sans"
>>>   "Luxi Mono"
>>>  (/ (* staff-height pt) 2.5))
>>> }
>>> { a^\markup { "Test" \typewriter "code" } }
>>> 
>>> Of course, the fonts must be installed.
> 
> replace "Times New Roman" with "Luxi Mono" or whatever typerwriter font
> you have, the what would have been in Times will come out in Mono...
> 
> Richard

that makes sense and works!

thanks!
> 
> 
>>> 
>>> HTH,
>>> Joram
>>> 
>>> ___
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>>> lilypond-user@gnu.org
>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>> 
>> 
>> Thanks, but I'am looking for a solution where the \typewriter in the markup 
>> is not neccecary.
>> I have lots of markups and don't want to change them all manually.
>> 
>> 
>> ___
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>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> 


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Re: variable in markup possible?

[Ole Schmidt]

Am 12.02.2015 um 12:40 schrieb Noeck :



www.oleschmidt.de



> Hi Ole,
> 
>> Is it possible to use a variable inside a markup
> 
> Yes. With two modifications to your code:
> 1. The definition of def must be a markup (insert \markup before the 
> \center-column)
> 2. You have to call a variable with a backslash (\def).
> The definitions of a variable is: var = …
> The usage of a variable is: \var
> 
> 
> def = \markup \center-column {
>  \combine
>  \draw-line #'(0 . 6)
>  \arrow-head #Y #DOWN ##f
> }
> 
> { c1^\markup {\def} }
> 
> Cheers,
> Joram
> 

works, thanks!




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Scheme problem?

[takumi ikeda]

Hello all,

I am trying the following code but I got "Wrong type: ()" error.
I would like to avoid translating tremolos when the note is whole note.
Writing Scheme is quite difficult for me. Any help would be appreciated.

Takumi

>>

\version "2.18.2"

tremps = #"
2 setlinewidth
0.07 0.07 scale
-10 7 moveto
-5 3 5 3 10 7 curveto
-10 -7 lineto
-5 -3 5 -3 10 -7 curveto
stroke
"

z-trem =
#(define-music-function (parser location music) (ly:music?)
   #{
 \override StemTremolo.stencil =
 #(lambda (grob)
(let* (
(dur-log (ly:grob-property grob 'duration-log))
(dir (ly:grob-property grob 'direction))
)
  (grob-interpret-markup grob
(markup
 (
   #:translate (cons 0 (if (= 0 dur-log) 0
   (if (= UP dir) -0.5 0.5)))
   #:postscript tremps
   )
 )
)
  )
)
 $music
   #}
   )


\new Staff {
  \z-trem
  c'1:32 c''8: f'16: g':  c''8: c'4: c''16:
}

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Re: Scheme problem?

[Kevin Barry]

Hi Takumi,

Is this what you want?

\version "2.18.2"

tremps = #"
2 setlinewidth
0.07 0.07 scale
-10 7 moveto
-5 3 5 3 10 7 curveto
-10 -7 lineto
-5 -3 5 -3 10 -7 curveto
stroke
"

z-trem =
#(define-music-function (parser location music) (ly:music?)
   #{
 \override StemTremolo.stencil =
 #(lambda (grob)
(let* (
(dur-log (ly:duration-log (ly:music-property music
'duration)))
(dir (ly:grob-property grob 'direction))
)
  (grob-interpret-markup grob
(markup
 (
   #:translate (cons 0 (if (= 0 dur-log)
   0
   (if (= UP dir) -0.5 0.5)))
   #:postscript tremps
   )
 )
)
  )
)
 $music
   #}
   )


\new Staff {
  \z-trem
  c'1:32 c''8: f'16: g':  c''8: c'4: c''16:
}

On Thu, Feb 12, 2015 at 12:44 PM, takumi ikeda  wrote:

> Hello all,
>
> I am trying the following code but I got "Wrong type: ()" error.
> I would like to avoid translating tremolos when the note is whole note.
> Writing Scheme is quite difficult for me. Any help would be appreciated.
>
> Takumi
>
> >>
>
> \version "2.18.2"
>
> tremps = #"
> 2 setlinewidth
> 0.07 0.07 scale
> -10 7 moveto
> -5 3 5 3 10 7 curveto
> -10 -7 lineto
> -5 -3 5 -3 10 -7 curveto
> stroke
> "
>
> z-trem =
> #(define-music-function (parser location music) (ly:music?)
>#{
>  \override StemTremolo.stencil =
>  #(lambda (grob)
> (let* (
> (dur-log (ly:grob-property grob 'duration-log))
> (dir (ly:grob-property grob 'direction))
> )
>   (grob-interpret-markup grob
> (markup
>  (
>#:translate (cons 0 (if (= 0 dur-log) 0
>(if (= UP dir) -0.5 0.5)))
>#:postscript tremps
>)
>  )
> )
>   )
> )
>  $music
>#}
>)
>
>
> \new Staff {
>   \z-trem
>   c'1:32 c''8: f'16: g':  c''8: c'4: c''16:
> }
>
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problem overriding fonts

[Noeck]

Hi,

I want to use a different font in general (titles, lyrics, etc.) but keep
Century Schoolbook L for some parts like MetronomeMarks and BarNumbers.
How can I do that without loosing the ability to choose the font weight/shape in
the markup using \bold, \italic or \medium?

\version "2.18.2"

\paper {
  fonts = #
  (make-pango-font-tree
   "Linux Libertine O"
   "Linux Biolinum O"
   "Ubuntu Mono"
   (/ (* staff-height pt) 2.5))
}

{
  \tempo \markup { Andante \italic con \bold moto \medium etc } a1^"good as
before with Century S. but I want a different font" \break
  \override Score.MetronomeMark.font-name = #"Century Schoolbook L"
  \tempo \markup { Andante \italic con \bold moto \medium etc } a1^"bad: not
bold by default, ignores bold and italic" \break
  \override Score.MetronomeMark.font-name = #"Century Schoolbook L bold"
  \tempo \markup { Andante \italic con \bold moto \medium etc } a1^"bad: ignores
medium and italic"
}

Joram

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Interview with Daniel Spreadbury about his work at Steinberg

[John Link]

Here’s a link to an interview with Daniel Spreadbury (formerly with Sibelius 
and Avid, now with Steinberg) about the progress his team has been making at 
Steinberg.
http://www.sibeliusblog.com/people/an-interview-with-daniel-spreadbury/

John Link

http://www.cdbaby.com/all/johnlink
http://www.myspace.com/johnlinkproject





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using variable in "\translate #'(10 . 30) \center-align Ignatzek

[MarcM]

I am using this great snippet that allows to position markup with
coordinates
http://lsr.di.unimi.it/LSR/Snippet?id=628

It uses "\translate #'(10 . 30) \center-align Ignatzek

How can I replace the 10 by a variable? I tried different syntaxes but none
worked



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Re: problem overriding fonts

[Kevin Barry]

Hi Joram,

I am not sure why \bold and \italic aren't working in your example, but you
can still use overrides within the markup blocks to get what you want, e.g.

\markup { Andante \override #'(font-name . "Century Schoolbook L italic")
con }

If you will be doing the override frequently you can make a function for it:

#(define-markup-command (centuryItalic layout props text)
   (markup?)
   (interpret-markup layout props
 (markup #:override '(font-name . "Century Schoolbook L italic") text
)))

and then use \centuryItalic instead of \italic.

I hope that makes sense,
Kevin

On Thu, Feb 12, 2015 at 2:12 PM, Noeck  wrote:

> Hi,
>
> I want to use a different font in general (titles, lyrics, etc.) but keep
> Century Schoolbook L for some parts like MetronomeMarks and BarNumbers.
> How can I do that without loosing the ability to choose the font
> weight/shape in
> the markup using \bold, \italic or \medium?
>
> \version "2.18.2"
>
> \paper {
>   fonts = #
>   (make-pango-font-tree
>"Linux Libertine O"
>"Linux Biolinum O"
>"Ubuntu Mono"
>(/ (* staff-height pt) 2.5))
> }
>
> {
>   \tempo \markup { Andante \italic con \bold moto \medium etc } a1^"good as
> before with Century S. but I want a different font" \break
>   \override Score.MetronomeMark.font-name = #"Century Schoolbook L"
>   \tempo \markup { Andante \italic con \bold moto \medium etc } a1^"bad:
> not
> bold by default, ignores bold and italic" \break
>   \override Score.MetronomeMark.font-name = #"Century Schoolbook L bold"
>   \tempo \markup { Andante \italic con \bold moto \medium etc } a1^"bad:
> ignores
> medium and italic"
> }
>
> Joram
>
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Re: problem overriding fonts

[Noeck]

Hi Kevin,

thanks for your reply. Yes, this is a workaround, but I want to have these
changes in a style sheet without touching things like \italic in the document.

The problem seems to be that font attributes are overwritten by the font-name
\override:

http://www.lilypond.org/doc/v2.18/Documentation/internals/font_002dinterface

Can I change the font without change more than the font?

Joram

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Re: Scheme problem?

[takumi ikeda]

Hi Kevin,
Thank you for your reply. But the part of "(if (= UP dir) -0.5 0.5)"
seems to not working...

BTW, How can I learn the syntax like "(ly:duration-log
(ly:music-property music 'duration))"? I found the documentation
lilypond.org/doc/v2.19/Documentation/internals/scheme-functions but it
says only "Function: ly:duration-log dur". Is "dur" an data type?
Where is the reference of "dur"?

2015-02-12 22:13 GMT+09:00 Kevin Barry :
> Hi Takumi,
>
> Is this what you want?
>
> \version "2.18.2"
>
> tremps = #"
> 2 setlinewidth
> 0.07 0.07 scale
> -10 7 moveto
> -5 3 5 3 10 7 curveto
> -10 -7 lineto
> -5 -3 5 -3 10 -7 curveto
> stroke
> "
>
> z-trem =
> #(define-music-function (parser location music) (ly:music?)
>#{
>  \override StemTremolo.stencil =
>  #(lambda (grob)
> (let* (
> (dur-log (ly:duration-log (ly:music-property music
> 'duration)))
> (dir (ly:grob-property grob 'direction))
> )
>   (grob-interpret-markup grob
> (markup
>  (
>#:translate (cons 0 (if (= 0 dur-log)
>0
>(if (= UP dir) -0.5 0.5)))
>#:postscript tremps
>)
>  )
> )
>   )
> )
>  $music
>#}
>)
>
>
> \new Staff {
>   \z-trem
>   c'1:32 c''8: f'16: g':  c''8: c'4: c''16:
> }
>
> On Thu, Feb 12, 2015 at 12:44 PM, takumi ikeda  wrote:
>>
>> Hello all,
>>
>> I am trying the following code but I got "Wrong type: ()" error.
>> I would like to avoid translating tremolos when the note is whole note.
>> Writing Scheme is quite difficult for me. Any help would be appreciated.
>>
>> Takumi
>>
>> >>
>>
>> \version "2.18.2"
>>
>> tremps = #"
>> 2 setlinewidth
>> 0.07 0.07 scale
>> -10 7 moveto
>> -5 3 5 3 10 7 curveto
>> -10 -7 lineto
>> -5 -3 5 -3 10 -7 curveto
>> stroke
>> "
>>
>> z-trem =
>> #(define-music-function (parser location music) (ly:music?)
>>#{
>>  \override StemTremolo.stencil =
>>  #(lambda (grob)
>> (let* (
>> (dur-log (ly:grob-property grob 'duration-log))
>> (dir (ly:grob-property grob 'direction))
>> )
>>   (grob-interpret-markup grob
>> (markup
>>  (
>>#:translate (cons 0 (if (= 0 dur-log) 0
>>(if (= UP dir) -0.5 0.5)))
>>#:postscript tremps
>>)
>>  )
>> )
>>   )
>> )
>>  $music
>>#}
>>)
>>
>>
>> \new Staff {
>>   \z-trem
>>   c'1:32 c''8: f'16: g':  c''8: c'4: c''16:
>> }
>>
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>

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Setting Default Documentation in Frescobaldi

[Conor Cook]

How might I get my Frescobaldi installation to open up the Lilypond
2.19.15 manual instead of 2.18.2 automatically?  I have no local
documentation, so it automatically opens the internet version.

~Conor Cook

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Re: Setting Default Documentation in Frescobaldi

[and...@andis59.se]

On 2015-02-12 17:56, Conor Cook wrote:

How might I get my Frescobaldi installation to open up the Lilypond
2.19.15 manual instead of 2.18.2 automatically?  I have no local
documentation, so it automatically opens the internet version.

~Conor Cook


Select Edit - Preferences - LilyPond Documentation and enter this
http://www.lilypond.org/doc/v2.19

// Anders



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So any error or strangeness is due to the translation.
Please correct my English so that I may become better.

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Re: using variable in "\translate #'(10 . 30) \center-align Ignatzek

[Klaus Blum]

Hi Marc, 

maybe this is what you're looking for:

% --

\version "2.18.2"

\markup \translate #'(10 . 30) \center-align Ignatzek
\markup \translate #'(20 . 30) \center-align Ignatzek

#(define x-var 10)
\markup \translate #(cons x-var 30) \center-align Ignatzek
#(define x-var 20)
\markup \translate #(cons x-var 30) \center-align Ignatzek

% --

Cheers, 
Klaus




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Re: Hungarian Gregorian

[Rita Composer]

Dear Users,

We have still a problem with the dots. The program puts one dot in a right
place and  plus one above...
A tiny example is attached!

Thank you for checking it!
Sister Judit

2015-02-03 20:08 GMT+01:00 Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com>:

> Thank you all for your kind support.
> I'm a litlle busy for the moment but will come back asap!!
>
> @ Werner: yes no problem at all to change the "stem" length.
>
> Cheers,
> Pierre
>

\version "2.19.15"
\include "modernGregorian.ily"
%\pointAndClickOff
\language "deutsch"
\header { 
  tagline = ##f
}

melisma = #(define-music-function (parser location mus)
 (ly:music?)
 #{
   { \neume { $mus } \omit Accidental h }
 #})



myMelodyantifónaNégy = \transpose c c' {
  \clef G
  \omit Stem
  \key d\major
 \melisma { f4 g \lst a4.}   <-- double dot... how to make it without doubleing?? 
 
 
 
  \bar "|."
}
myLyricsantifónaNégy = \lyricmode {
 
  
}
\score {
  <<
\cadenzaOn
\new Voice = MyMelodyantifónaNégy \myMelodyantifónaNégy
\new Lyrics \lyricsto MyMelodyantifónaNégy \myLyricsantifónaNégy
  >>
  \layout { }
  \header {
piece = \markup {  
  \fontsize #2 
  {
\bold "4."
"Kórus: "   
  }
}
  }
}

\paper { 
  indent = 0
  top-margin = 15
  left-margin = 20
  right-margin = 20
  system-system-spacing = #'((minimum-distance . 16)) 
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Re: skip in 5/8

[Ed Gordijn]

>> Thanks to both of you,  where in the manual is this?
>
> <
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations
>

http://lilypond.org/doc/v2.18/Documentation/notation/writing-rests#full-measure-rests

There is an example with a 13/8 rest.

Greetings, Ed
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Dotted ottava bracket

[Noeck]

Hi,

I would like to change the ottava bracket style. The markup line on top shows
what I want, the dashed ottava bracket is the closest I could achieve. However,
I want it to look like the dotted line on top.

\version "2.18.2"
{
  \override Score.OttavaBracket #'style = #'dotted-line %why is it still dashed?
  \override Score.OttavaBracket #'dash-period = 0.6
  \override Score.OttavaBracket #'thickness = 2
  %\override Score.OttavaBracket #'dash-fraction = 0.01 % does not really help
  \ottava 1
  a''4^\markup {
\override #'(thickness . 2)
\override #'(off . 0.01)
\draw-dotted-line #'(10 . 0)
  }
  a'' a'' a''
  \ottava 0
}

Can anyone help me out?

Joram

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Re: problem overriding fonts

[tisimst]

Noeck wrote
> Hi Kevin,
> 
> thanks for your reply. Yes, this is a workaround, but I want to have these
> changes in a style sheet without touching things like \italic in the
> document.
> 
> The problem seems to be that font attributes are overwritten by the
> font-name
> \override:
> 
> http://www.lilypond.org/doc/v2.18/Documentation/internals/font_002dinterface
> 
> Can I change the font without change more than the font?

Joram,

It took some doing, but here's a solution for you. The text in a \tempo is
controlled in the MetronomeMark grob. Looking at the procedure for
formatting the text, there's no reason that I can see that 

\override Score.MetronomeMark.font-name = #"Century Schoolbook L"

shouldn't work, but it doesn't (bug report!). To get around this, you can
easily add a new text font-family and then set the MetronomeMark to that:

%< - SNIP

\version "2.18.2"

\paper { 
  fonts = # 
  (make-pango-font-tree 
   "Linux Libertine O" 
   "Linux Biolinum O" 
   "Ubuntu Mono" 
   (/ (* staff-height pt) 2.5))

  % HERE'S WHERE THE MAGIC HAPPENS :)
  (add-pango-fonts fonts 'tempoFont "Century Schoolbook L" (/ (*
staff-height pt) 2.5))
} 

% AND HERE'S THE OVERRIDE
\layout {
  \override Score.MetronomeMark.font-family = #'tempoFont
}

{ 
  \tempo \markup { Andante \italic con \bold moto \medium etc }
  a1^"Now it works!"
}

%< - SNIP

Now, the \layout and \paper blocks can go into your stylesheet. 

HTH,
Abraham



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Re: problem overriding fonts

[Noeck]

>   % HERE'S WHERE THE MAGIC HAPPENS :)
>   (add-pango-fonts fonts 'tempoFont "Century Schoolbook L" (/ (*
> staff-height pt) 2.5))

Hi Abraham,

I counted on you, our font expert ;) This is indeed some magic to me. But it
works (if a # is added before (add-pango-fonts …). Thank you very much.

Should this be a bug report?

Cheers,
Joram

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Caesura in Rehearsal Mark over each line of system

[Conor Cook]

Is it possible to place a caesura, contained in a rehearsal mark, over
every staff of a system (like in a choral score, since parts will not
be extracted)?  I know that this is not how rehearsal marks are
supposed to work, so is there another way to achieve this?  In an
archived thread, David Kastrup provided a \caesura variable that
involved the glyph and a breathe, but it is not exactly what I thought
I wanted (but if it is more in line with the way caesuras are meant to
be displayed, then I am happy with it, even if I need to offset it to
above the staff).

~Conor

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Re: Caesura in Rehearsal Mark over each line of system

[tisimst]

Conor Cook wrote
> Is it possible to place a caesura, contained in a rehearsal mark, over
> every staff of a system (like in a choral score, since parts will not
> be extracted)?  I know that this is not how rehearsal marks are
> supposed to work, so is there another way to achieve this?  In an
> archived thread, David Kastrup provided a \caesura variable that
> involved the glyph and a breathe, but it is not exactly what I thought
> I wanted (but if it is more in line with the way caesuras are meant to
> be displayed, then I am happy with it, even if I need to offset it to
> above the staff).

Conor,

Try this:

\layout {
  \context {
\Score
\remove "Mark_engraver"
  }
  \context {
\Staff
\consists "Mark_engraver"
  }
}

This will mean that you need to put the "\mark ..." in each staff you want
it to appear, though.

HTH,
Abraham



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Re: change the font for all markups

[tisimst]

Ole Schmidt wrote
> Am 12.02.2015 um 11:50 schrieb Richard Shann <

> richard@.plus

> >:
> 
>> On Thu, 2015-02-12 at 12:20 +0100, Ole Schmidt wrote:
>>> Am 12.02.2015 um 12:04 schrieb Noeck <

> noeck.marburg@

> >:
>>> 
 Hi,
 
 this works for me (taken from Frescobaldi Insert > Document fonts …):
 
 \paper {
 fonts = #
 (make-pango-font-tree
   "Times New Roman"
   "Nimbus Sans"
   "Luxi Mono"
  (/ (* staff-height pt) 2.5))
 }
 { a^\markup { "Test" \typewriter "code" } }
 
 Of course, the fonts must be installed.
>> 
>> replace "Times New Roman" with "Luxi Mono" or whatever typerwriter font
>> you have, the what would have been in Times will come out in Mono...
>> 
>> Richard
> 
> that makes sense and works!
> 
> thanks!
>> 
>> 
 
 HTH,
 Joram
 
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> lilypond-user@

 https://lists.gnu.org/mailman/listinfo/lilypond-user
>>> 
>>> 
>>> Thanks, but I'am looking for a solution where the \typewriter in the
>>> markup is not neccecary.
>>> I have lots of markups and don't want to change them all manually.
>>> 
>>> 
>>> ___
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>> 
>> 
> 
> 
> ___
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Ole,

While it works, the effect is that the typewriter font becomes your MAIN
font (since that is what LilyPond uses the \roman font-family for). If you
are okay with that, great. If this is not desired, you can do:

  \override Score.TextScript.font-family = #'typewriter

This only affects \markups and other simple text.

HTH,
Abraham



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Broken ligatures in recent LilyPond versions

[Noeck]

Hi,

LilyPond used to do ligatures correctly in 2.16.2 (see image). In 2.18.2 and
2.19 versions, the ligatures are broken. Why?

System: Ubuntu (Linux)
2.16.2 installed via system packages
2.18.2 and above installed using the sh script from the webpage

Snippet:

\paper {
  fonts = #
  (make-pango-font-tree
   "Linux Libertine O"
   "Linux Biolinum O"
   "Ubuntu Mono"
   (/ (* staff-height pt) 2.5))
}

\markup "Ligatures: The Que fi fl"

Cheers,
Joram
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Re:Setting Default Documentation in Frescobaldi

[Conor Cook]

Ah, I see now that +Add to path searches for both directories and URLs.

Thank you!

~Conor

> -- Forwarded message --
> From: "and...@andis59.se" 
> To: lilypond-user@gnu.org
> Cc:
> Date: Thu, 12 Feb 2015 18:02:31 +0100
> Subject: Re: Setting Default Documentation in Frescobaldi
> On 2015-02-12 17:56, Conor Cook wrote:
>>
>> How might I get my Frescobaldi installation to open up the Lilypond
>> 2.19.15 manual instead of 2.18.2 automatically?  I have no local
>> documentation, so it automatically opens the internet version.
>>
>> ~Conor Cook
>
>
> Select Edit - Preferences - LilyPond Documentation and enter this
> http://www.lilypond.org/doc/v2.19
>
> // Anders
>
>
>
> --
> English isn't my first language.
> So any error or strangeness is due to the translation.
> Please correct my English so that I may become better.

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Re: Broken ligatures in recent LilyPond versions

[Werner LEMBERG]

> LilyPond used to do ligatures correctly in 2.16.2 (see image). In
> 2.18.2 and 2.19 versions, the ligatures are broken. Why?

Unfortunately, this is currently beyond our control.  What you see is
the default rendering with the pango library.  Right now, lilypond
lacks a font interface to control OpenType features.

Note it seems that there are also bugs in Pango that prevent correct
ligature rendering in general, cf.

  https://code.google.com/p/lilypond/issues/detail?id=2656

We would need a Windows developer to debug that...


Werner

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Re: Caesura in Rehearsal Mark over each line of system

[Conor Cook]

That is beautiful, both in its coding simplicity and in the final product!

Thank you!

~Conor

> -- Forwarded message --
> From: tisimst 
> To: lilypond-user@gnu.org
> Cc:
> Date: Thu, 12 Feb 2015 12:38:12 -0700 (MST)
> Subject: Re: Caesura in Rehearsal Mark over each line of system
> Conor Cook wrote
>> Is it possible to place a caesura, contained in a rehearsal mark, over
>> every staff of a system (like in a choral score, since parts will not
>> be extracted)?  I know that this is not how rehearsal marks are
>> supposed to work, so is there another way to achieve this?  In an
>> archived thread, David Kastrup provided a \caesura variable that
>> involved the glyph and a breathe, but it is not exactly what I thought
>> I wanted (but if it is more in line with the way caesuras are meant to
>> be displayed, then I am happy with it, even if I need to offset it to
>> above the staff).
>
> Conor,
>
> Try this:
>
> \layout {
>   \context {
> \Score
> \remove "Mark_engraver"
>   }
>   \context {
> \Staff
> \consists "Mark_engraver"
>   }
> }
>
> This will mean that you need to put the "\mark ..." in each staff you want
> it to appear, though.
>
> HTH,
> Abraham
>
>
>
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/Caesura-in-Rehearsal-Mark-over-each-line-of-system-tp171757p171758.html
> Sent from the User mailing list archive at Nabble.com.

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Git/Lilypond workflow

[Craig Dabelstein]

Hi list,

Would anyone be able to briefly share with me how they use Git with
Lilypond; i.e. do you create a separate repository for each composition you
are working on, do you make a separate branch for each part while you are
working on it and then merge when it is finished, if you sell your music do
you pay the fee to have private repositories, etc.

I'd appreciate any advice you could share.

All the best,

Craig
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Re: Broken ligatures in recent LilyPond versions

[Noeck]

Hi Werner,

thanks for the reply.

> Unfortunately, this is currently beyond our control.  What you see is
> the default rendering with the pango library.  Right now, lilypond
> lacks a font interface to control OpenType features.

And why did it work before? Because the old pango library did it differently?
Does each LilyPond come with its own pango lib?

By the way, the svg backend does the ligatures (it probably puts the text there
and leaves it to inkscape to render the ligatures?).

> Note it seems that there are also bugs in Pango that prevent correct
> ligature rendering in general, cf.
> 
>   https://code.google.com/p/lilypond/issues/detail?id=2656
> 
> We would need a Windows developer to debug that...

But I produced this on Linux.

Best,
Joram

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Re: Broken ligatures in recent LilyPond versions

[Werner LEMBERG]

>> Unfortunately, this is currently beyond our control.  What you see
>> is the default rendering with the pango library.  Right now,
>> lilypond lacks a font interface to control OpenType features.
> 
> And why did it work before?

I don't know.

> Because the old pango library did it differently?

Maybe.  It might also depend on your locale.  IIRC, there were reports
that 32bit vs. 64bit is an issue also.

> Does each LilyPond come with its own pango lib?

I don't know, since I always compile from git directly, using my
GNU/Linux pango library (currently also compiled by myself from its
git repository).

> By the way, the svg backend does the ligatures (it probably puts the
> text there and leaves it to inkscape to render the ligatures?).

Since my knowledge of SVG is zero, I can't even do an educated
guess...


Werner


BTW, using lilypond release/2.19.15-1-171-ge86b2ea together with pango
1.36.8-6-ga533850, LinLibertine_R.otf 5.3.0, and gs 9.15, ligatures
are displayed just fine on my 32bit PC.

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Re: Broken ligatures in recent LilyPond versions

[tisimst]

It works fine for me... (Ubuntu 14.10, LilyPond 2.18.2). Sorry.

- Abraham

On Thu, Feb 12, 2015 at 1:35 PM, Noeck [via Lilypond] 
 wrote:
> Hi Werner, 
> 
> thanks for the reply. 
> 
> > Unfortunately, this is currently beyond our control.  What you see 
> is 
> > the default rendering with the pango library.  Right now, lilypond 
> > lacks a font interface to control OpenType features. 
> 
> And why did it work before? Because the old pango library did it 
> differently?
> Does each LilyPond come with its own pango lib? 
> 
> By the way, the svg backend does the ligatures (it probably puts the 
> text there 
> and leaves it to inkscape to render the ligatures?). 
> 
> > Note it seems that there are also bugs in Pango that prevent 
> correct 
> > ligature rendering in general, cf. 
> > 
> >   https://code.google.com/p/lilypond/issues/detail?id=2656
> > 
> > We would need a Windows developer to debug that... 
> 
> But I produced this on Linux. 
> 
> Best, 
> Joram 
> 
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Re: Git/Lilypond workflow

[H. S. Teoh]

On Thu, Feb 12, 2015 at 08:33:31PM +, Craig Dabelstein wrote:
> Hi list,
> 
> Would anyone be able to briefly share with me how they use Git with
> Lilypond; i.e. do you create a separate repository for each
> composition you are working on, do you make a separate branch for each
> part while you are working on it and then merge when it is finished,
> if you sell your music do you pay the fee to have private
> repositories, etc.
> 
> I'd appreciate any advice you could share.
[...]

I'm only an amateur composer, so take what I say with a grain of salt...

Generally, I have found that it's much better to use a separate Git
repository per composition. Originally, when I first started
transcribing my pieces into LilyPond, I kept everything in a single
repository, but as the pieces grew, the Git history became extremely
unwieldy.

Every time I made a branch for experimenting with some revision of a
particular passage in a particular piece, or for experimenting with
different LilyPond tweaks, it branches *all* of my other pieces as well.
This makes history tracking a pain -- `git log` will show the commits
for all of your pieces interspersed together, making it hard to see what
was going on within a single piece. (Of course, there are ways of
filtering the log, by subdirectory for example, but why put in so much
additional work in the first place?)

It also made tentative work on different compositions bothersome: I make
some tentative changes on composition A, but suddenly an idea occurred
to me about composition B, so I go into B's directory and start making
some changes, and then I decide I want to branch, and then Git complains
that I have uncommitted changes in A's subdirectory that will get
overwritten. So I'm forced to go back to A and commit the changes ... in
a new temporary branch? Bzzzt. Now it complains B has uncommitted
changes that might be discarded (or wrongly committed into A's branch,
so next time I check out the main branch for B those changes aren't
there).

Not to mention the headaches when you want to merge branches that
contain various changes sprinkled throughout your compositions. Not Fun.

In short, it was a royal pain to use a single repository for everything.
I decided that it was much better to keep separate repositories for each
composition. (It took quite some effort -- and lots of arcane Git hacks
-- to transfer the individual histories of each composition into my new
set of repositories -- I have a thing for the history of my
compositions, you see -- but that belongs in another tale. :-P)


Which brings me to the next point: I assume that by paying a fee for a
private repository you're referring to Github or one of the various Git
services out there. This is actually unnecessary -- if you're not going
to be sharing your LilyPond sources with anybody else, you don't *need*
an online Git service to store your repositories. You can just keep them
all on your local PC -- and you can have as many repositories as you
want without any limit, you can even make backup copies of your
repositories if you're paranoid about losing your pieces -- git will
happily create them all for you. This does not preclude sharing PDFs
with your colleagues / musicians; they don't need access to your
LilyPond sources, they just need the printed scores, and you don't need
an online Git service for distributing those.

If you're planning to collaborate with a friend, or a small group of
people, you can also set up a local git server and push/pull from each
other -- you will need a little knowledge in networking to make it work,
but it's generally not that difficult. Git was designed specifically for
this kind of decentralized, distributed workflow.

Centralized online Git services are really more intended for large
collaborative projects where you have a large number of people who must
have access to your files, and who may want to submit changes (pull
requests), submit / track issues, etc.. Unless you are working on a
large collaborative composition, you don't need that kind of service,
IMO.


T

-- 
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Re: Broken ligatures in recent LilyPond versions

[Kevin Barry]

I just tested on my own pc (linux, 64bit, 2.18.2) and the ligatures don't
work, either with linux libertine or with century schoolbook.
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Re: Git/Lilypond workflow

[Steve Lacy]

Hi,

I'm a software engineer by trade and have been using git for software
development for quite some time.

Let me first start saying that there are *many* different possible
workflows, and each user needs to come up with their own workflow that
they're comfortable with.

With respect to branching, the most important thing to remember is that
your *local* branches need to be ever pushed to the "origin" repository.
Or, to put this in layman's terms:  You can create many branches locally,
work through all your possible changes and experiments, and then when you
have something that you like, "squash" (which is a "git rebase") all that
work into a single commit that you push that to your origin repository.
This technique avoids the issues that H.S. Teoh was talking about having a
polluted git history.

In software, we generally avoid multiple repositories, and stick to "one
giant repository" and use branching and tagging for releases and
milestones.

For LilyPond development, I would think that there are some imortant
questions to ask first.

- Is there any shared code at all between different scores?  I can imagine
that you may have some utility functions, layout helpers, etc. that you
share across many scores.  If you share code like this, then one repository
will be easier.

- Are you collaborating, and how?  How well versed in git are your
collaborators?

Again, it software, the flow most people use are:
- Make many local branches that no one else ever sees. "git commit" to
these branches very frequently.
- When you have something that "looks good" in a local branch, rebase it
into a single commit using "git rebase -i"
- Allow collaborators to view this rebase'd "final version" of your work.
This could be by pushing to a "dev branch", or by sending a diff via
e-mail.  Your choice.
- After review is complete, either "merge dev branch into HEAD" or "apply
patch that was the result of new work" (per step(s) above)

There are lots of good websites outlining possible workflows, and it'll
take some time and experimentation to get things right.  Take a look at:

https://www.atlassian.com/git/tutorials/comparing-workflows

and

https://about.gitlab.com/2014/09/29/gitlab-flow/

I also agree 100% with H.S. Teoh when it comes to "private repository"
versus "self-hosted repository"

If you want something cheap & easy, just put your "private" git
repositories on dropbox.  That way, you can collaborate with others by
sharing the dropbox folder (read only or read/write as you see fit).
 There's no need to use a private github repository unless you really want
to collaborate with lots of people, or you want to invite collaborators
that you don't know personally (i.e. the forking flow that requires a code
review to publish)

Good luck and I'm happy to answer more git questions if you ever have some.
:)

Steve

On Thu, Feb 12, 2015 at 1:00 PM, H. S. Teoh  wrote:

> On Thu, Feb 12, 2015 at 08:33:31PM +, Craig Dabelstein wrote:
> > Hi list,
> >
> > Would anyone be able to briefly share with me how they use Git with
> > Lilypond; i.e. do you create a separate repository for each
> > composition you are working on, do you make a separate branch for each
> > part while you are working on it and then merge when it is finished,
> > if you sell your music do you pay the fee to have private
> > repositories, etc.
> >
> > I'd appreciate any advice you could share.
> [...]
>
> I'm only an amateur composer, so take what I say with a grain of salt...
>
> Generally, I have found that it's much better to use a separate Git
> repository per composition. Originally, when I first started
> transcribing my pieces into LilyPond, I kept everything in a single
> repository, but as the pieces grew, the Git history became extremely
> unwieldy.
>
> Every time I made a branch for experimenting with some revision of a
> particular passage in a particular piece, or for experimenting with
> different LilyPond tweaks, it branches *all* of my other pieces as well.
> This makes history tracking a pain -- `git log` will show the commits
> for all of your pieces interspersed together, making it hard to see what
> was going on within a single piece. (Of course, there are ways of
> filtering the log, by subdirectory for example, but why put in so much
> additional work in the first place?)
>
> It also made tentative work on different compositions bothersome: I make
> some tentative changes on composition A, but suddenly an idea occurred
> to me about composition B, so I go into B's directory and start making
> some changes, and then I decide I want to branch, and then Git complains
> that I have uncommitted changes in A's subdirectory that will get
> overwritten. So I'm forced to go back to A and commit the changes ... in
> a new temporary branch? Bzzzt. Now it complains B has uncommitted
> changes that might be discarded (or wrongly committed into A's branch,
> so next time I check out the main branch for B those changes aren't
> there).
>
> Not to ment

How to encapsulate TextSpanner?

[H. S. Teoh]

In my piece, I have several passages where I'd like to use a TextSpanner
to indicate "rall. - - - ". Currently, I have to do this:

\override TextSpanner.bound-details.left.text = "rall."
\override TextSpanner.direction = #DOWN
| a b c\startTextSpanner d | d c b a\stopTextSpanner |

I'd like to encapsulate the \override's and \startTextSpanner in a
single command, and abbreviate the \stopTextSpanner command, so that I
can write something like this:

| a4 b c\rall d | d c b a\endRall |

Is this possible?

I've tried various ways of doing this -- putting the commands in a
variable, using various Scheme make-script / make-music constructs,
etc., but lilypond keeps coming back with error messages. What's the
correct syntax for doing this?

Thanks!!


T

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Re: Git/Lilypond workflow

[Noeck]

Hi Craig,

I have a quite primitive git workflow:

Two repos:
1. openlilylib snippets (with some private branches)
2. scores (containing all my scores in different subfolders)

In (1) I have some branches for each additional feature, to stay in sync with
the upstream repository
In (2) I just commit every change on a single branch (I might do some extra
branch for a larger project).

So this is probably not what you are looking for (too simple) but I tought for
complete picture I also mention it.

Cheers,
Joram

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Re: Git/Lilypond workflow

[Tim Walters]

My approach is almost the opposite. I have everything in one repository, 
with each composition in its own folder, because:


--I have files that are common to all compositions. Having separate 
copies of these all over the place is exactly what I don't want. If I 
change, for example, the script that renders to PDF/MIDI/audio, I want 
all past and future compositions to use that script.

--"git log " is just as easy as "git log".
--Creating new compositions is much easier.

I rarely branch, but if I did, I wouldn't be at all hesitant to commit 
tentative changes on a branch in order to work on another branch. That's 
the standard git workflow, and really the whole reason for branching in 
the first place. If you change your mind, just revert.


I run my own git server on the same Linode () 
where I host my band's website. A local git server is not bad, but 
doesn't give you off-site backup. It's also occasionally handy to be 
able to work on a remote machine.


On 2/12/15 1:00 PM, H. S. Teoh wrote:

On Thu, Feb 12, 2015 at 08:33:31PM +, Craig Dabelstein wrote:

Hi list,

Would anyone be able to briefly share with me how they use Git with
Lilypond; i.e. do you create a separate repository for each
composition you are working on, do you make a separate branch for each
part while you are working on it and then merge when it is finished,
if you sell your music do you pay the fee to have private
repositories, etc.

I'd appreciate any advice you could share.

[...]

I'm only an amateur composer, so take what I say with a grain of salt...

Generally, I have found that it's much better to use a separate Git
repository per composition. Originally, when I first started
transcribing my pieces into LilyPond, I kept everything in a single
repository, but as the pieces grew, the Git history became extremely
unwieldy.

Every time I made a branch for experimenting with some revision of a
particular passage in a particular piece, or for experimenting with
different LilyPond tweaks, it branches *all* of my other pieces as well.
This makes history tracking a pain -- `git log` will show the commits
for all of your pieces interspersed together, making it hard to see what
was going on within a single piece. (Of course, there are ways of
filtering the log, by subdirectory for example, but why put in so much
additional work in the first place?)

It also made tentative work on different compositions bothersome: I make
some tentative changes on composition A, but suddenly an idea occurred
to me about composition B, so I go into B's directory and start making
some changes, and then I decide I want to branch, and then Git complains
that I have uncommitted changes in A's subdirectory that will get
overwritten. So I'm forced to go back to A and commit the changes ... in
a new temporary branch? Bzzzt. Now it complains B has uncommitted
changes that might be discarded (or wrongly committed into A's branch,
so next time I check out the main branch for B those changes aren't
there).

Not to mention the headaches when you want to merge branches that
contain various changes sprinkled throughout your compositions. Not Fun.

In short, it was a royal pain to use a single repository for everything.
I decided that it was much better to keep separate repositories for each
composition. (It took quite some effort -- and lots of arcane Git hacks
-- to transfer the individual histories of each composition into my new
set of repositories -- I have a thing for the history of my
compositions, you see -- but that belongs in another tale. :-P)


Which brings me to the next point: I assume that by paying a fee for a
private repository you're referring to Github or one of the various Git
services out there. This is actually unnecessary -- if you're not going
to be sharing your LilyPond sources with anybody else, you don't *need*
an online Git service to store your repositories. You can just keep them
all on your local PC -- and you can have as many repositories as you
want without any limit, you can even make backup copies of your
repositories if you're paranoid about losing your pieces -- git will
happily create them all for you. This does not preclude sharing PDFs
with your colleagues / musicians; they don't need access to your
LilyPond sources, they just need the printed scores, and you don't need
an online Git service for distributing those.

If you're planning to collaborate with a friend, or a small group of
people, you can also set up a local git server and push/pull from each
other -- you will need a little knowledge in networking to make it work,
but it's generally not that difficult. Git was designed specifically for
this kind of decentralized, distributed workflow.

Centralized online Git services are really more intended for large
collaborative projects where you have a large number of people who must
have access to your files, and who may want to submit changes (pull
requests), submit / track issues, etc.. Unless you

Re: Broken ligatures in recent LilyPond versions

[Noeck]

I checked on different systems:
 2.16.2   2.18.2
Ubuntu 14.04 64bit:  good bad
Ubuntu 14.10 32bit:  good good

From your responses, I see:
Kevin: 64bit bad
Werner: 32bit good
Abraham: ?bit good (Ubuntu 14.10)
This fits in the 32 vs. 64 bit scheme (among many other possible differences
between the quoted systems – the packages in Ubuntu 14.10 could also be better
than 14.04).

Cheers,
Joram

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Re: Git/Lilypond workflow

[H. S. Teoh]

On Thu, Feb 12, 2015 at 01:29:55PM -0800, Tim Walters wrote:
> My approach is almost the opposite. I have everything in one
> repository, with each composition in its own folder, because:
> 
> --I have files that are common to all compositions. Having separate
> copies of these all over the place is exactly what I don't want. If I
> change, for example, the script that renders to PDF/MIDI/audio, I want
> all past and future compositions to use that script.

If it were me, I'd use a dedicated repository for the common stuff, put
it in a specific location, and just point the scripts in each
composition's directory at it.


> --"git log " is just as easy as "git log".

True.


> --Creating new compositions is much easier.

It's not *that* much easier than `mkdir new_composition; cd
new_composition; git init`. :-)

The nice thing about git is that even creating repositories is cheap and
fast -- you don't need to setup a whole new server for it, etc., just
create it on the spot. Don't like it? Just delete the whole directory,
and you're done. Want a backup copy? Just `git clone ...`. Don't need
the backup anymore? Nuke the directory.

(In fact, this is how I initially split my single repository into
multiple ones: `git clone` the original repo, then `git-filter-branch
--filter=subdirectory` to discard everything except a single
subdirectory, then repeat with the next subdirectory, etc.. The original
repo is left intact in case I screw up and need to go back to the
original state of things. In any other version control system (that I
know of, anyway), doing this would be an extremely time-consuming and
arcane task.)


> I rarely branch, but if I did, I wouldn't be at all hesitant to commit
> tentative changes on a branch in order to work on another branch.
> That's the standard git workflow, and really the whole reason for
> branching in the first place. If you change your mind, just revert.

If this workflow works for you, sure.  What I didn't like about it was
that while working on composition A, I may be in branch B1, but then I
get an idea for composition C, and when I go into C's subdirectory, it's
still stuck at the old state when B1 first branched, rather than the
latest state. I have to checkout C's latest branch first -- and if I
forget, I have to commit/rebase/squash/etc.. It's certainly *possible*
to work this way, it's just not as nice IMO.


> I run my own git server on the same Linode ()
> where I host my band's website. A local git server is not bad, but
> doesn't give you off-site backup. It's also occasionally handy to be
> able to work on a remote machine.

True. OTOH you *could* setup a backup PC on a LAN, and just push your
changes there every now and then. Well, whatever works for you. :-)

Speaking of remote servers (Linode, etc.), you don't even need to run a
dedicated git server; if you have ssh access to the server, that's good
enough for pushing/pulling with git, just use ssh://... in your git
remote URL.


T

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all, And thus to Windows bind them. -- Mike Champion

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Re: How to encapsulate TextSpanner?

[Kevin Barry]

On Thu, Feb 12, 2015 at 9:25 PM, H. S. Teoh  wrote:

> I've tried various ways of doing this -- putting the commands in a
> variable, using various Scheme make-script / make-music constructs,
> etc., but lilypond keeps coming back with error messages. What's the
> correct syntax for doing this?
>

How about:

\version "2.18.2"

rall =
\tweak bound-details.left.text "rall."
\tweak direction #DOWN
\startTextSpan

stopRall = \stopTextSpan

\relative {
  a b c\rall d d c b a\stopRall
}
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Re: Broken ligatures in recent LilyPond versions

[Kevin Barry]

Thank you for checking.  I have checked three systems with the following
results

Mint 17.1 (Ubuntu 14.04) 64 bit, bad
Ubuntu 14.10 64 bit, bad
Fedora 21 64 bit, bad

which also supports the 32 vs 64 bit hypothesis. Is there any possibility
of a workaround for this?

On Thu, Feb 12, 2015 at 9:41 PM, Noeck  wrote:

> I checked on different systems:
>  2.16.2   2.18.2
> Ubuntu 14.04 64bit:  good bad
> Ubuntu 14.10 32bit:  good good
>
> From your responses, I see:
> Kevin: 64bit bad
> Werner: 32bit good
> Abraham: ?bit good (Ubuntu 14.10)
> This fits in the 32 vs. 64 bit scheme (among many other possible
> differences
> between the quoted systems – the packages in Ubuntu 14.10 could also be
> better
> than 14.04).
>
> Cheers,
> Joram
>
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Re: Scheme problem?

[Simon Albrecht]

Am 12.02.2015 um 17:00 schrieb takumi ikeda:

Hi Kevin,
Thank you for your reply. But the part of "(if (= UP dir) -0.5 0.5)"
seems to not working...

BTW, How can I learn the syntax like "(ly:duration-log
(ly:music-property music 'duration))"? I found the documentation
lilypond.org/doc/v2.19/Documentation/internals/scheme-functions but it
says only "Function: ly:duration-log dur". Is "dur" an data type?
Where is the reference of "dur"?
“dur” serves as a placeholder for an argument. You should find it again 
in the explanatory text on the function, which is sometimes very short. 
In fact, the argument referenced here as “dur” is of type ly:duration? – 
that’s the data type. Durations may be created through the scheme 
function ly:make-duration.


HTH, Simon


2015-02-12 22:13 GMT+09:00 Kevin Barry :

Hi Takumi,

Is this what you want?

\version "2.18.2"

tremps = #"
2 setlinewidth
0.07 0.07 scale
-10 7 moveto
-5 3 5 3 10 7 curveto
-10 -7 lineto
-5 -3 5 -3 10 -7 curveto
stroke
"

z-trem =
#(define-music-function (parser location music) (ly:music?)
#{
  \override StemTremolo.stencil =
  #(lambda (grob)
 (let* (
 (dur-log (ly:duration-log (ly:music-property music
'duration)))
 (dir (ly:grob-property grob 'direction))
 )
   (grob-interpret-markup grob
 (markup
  (
#:translate (cons 0 (if (= 0 dur-log)
0
(if (= UP dir) -0.5 0.5)))
#:postscript tremps
)
  )
 )
   )
 )
  $music
#}
)


\new Staff {
   \z-trem
   c'1:32 c''8: f'16: g':  c''8: c'4: c''16:
}

On Thu, Feb 12, 2015 at 12:44 PM, takumi ikeda  wrote:

Hello all,

I am trying the following code but I got "Wrong type: ()" error.
I would like to avoid translating tremolos when the note is whole note.
Writing Scheme is quite difficult for me. Any help would be appreciated.

Takumi

\version "2.18.2"

tremps = #"
2 setlinewidth
0.07 0.07 scale
-10 7 moveto
-5 3 5 3 10 7 curveto
-10 -7 lineto
-5 -3 5 -3 10 -7 curveto
stroke
"

z-trem =
#(define-music-function (parser location music) (ly:music?)
#{
  \override StemTremolo.stencil =
  #(lambda (grob)
 (let* (
 (dur-log (ly:grob-property grob 'duration-log))
 (dir (ly:grob-property grob 'direction))
 )
   (grob-interpret-markup grob
 (markup
  (
#:translate (cons 0 (if (= 0 dur-log) 0
(if (= UP dir) -0.5 0.5)))
#:postscript tremps
)
  )
 )
   )
 )
  $music
#}
)


\new Staff {
   \z-trem
   c'1:32 c''8: f'16: g':  c''8: c'4: c''16:
}

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Re: How to encapsulate TextSpanner?

[Simon Albrecht]

Am 12.02.2015 um 22:48 schrieb Kevin Barry:


On Thu, Feb 12, 2015 at 9:25 PM, H. S. Teoh > wrote:


I've tried various ways of doing this -- putting the commands in a
variable, using various Scheme make-script / make-music constructs,
etc., but lilypond keeps coming back with error messages. What's the
correct syntax for doing this?


How about:

\version "2.18.2"

rall =
I do think this needs a - before each tweak to attach it to the note as 
post event, but then it should work.

Yours, Simon

\tweak bound-details.left.text "rall."
\tweak direction #DOWN
\startTextSpan

stopRall = \stopTextSpan

\relative {
  a b c\rall d d c b a\stopRall
}


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Re: Git/Lilypond workflow

[Tim Walters]

On 2/12/15 1:44 PM, H. S. Teoh wrote:

If it were me, I'd use a dedicated repository for the common stuff, put
it in a specific location, and just point the scripts in each
composition's directory at it.


All well and good until you want to branch it with a composition, set up 
a new machine, etc., etc I care a lot more about keeping my various 
machines and components in sync than I do about a "clean" git history, 
so that would annoy me a lot more. Different strokes, I guess!


It's not *that* much easier than `mkdir new_composition; cd 
new_composition; git init`. :-)


Then you have to push it to the remote server, remember and clone all 
the URLs you've created since the last time you used machine X, install 
or separately pull the common files, etc. Whereas wherever I go, I'm 
either a "git clone" or a "git pull" away from getting to work.



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Re: How to encapsulate TextSpanner?

[Kevin Barry]

On Thu, Feb 12, 2015 at 10:03 PM, Simon Albrecht 
wrote:

> I do think this needs a - before each tweak to attach it to the note as
> post event, but then it should work.
> Yours, Simon
>

I tried with and without the - and both seemed to work the same. What's the
difference?
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Re: Broken ligatures in recent LilyPond versions

[tisimst]

Sorry. I'm 64bit. 

-Abraham

Sent from my iPhone

> On Feb 12, 2015, at 2:42 PM, Noeck [via Lilypond] 
>  wrote:
> 
> I checked on different systems: 
>  2.16.2   2.18.2 
> Ubuntu 14.04 64bit:  good bad 
> Ubuntu 14.10 32bit:  good good 
> 
> From your responses, I see: 
> Kevin: 64bit bad 
> Werner: 32bit good 
> Abraham: ?bit good (Ubuntu 14.10) 
> This fits in the 32 vs. 64 bit scheme (among many other possible differences 
> between the quoted systems – the packages in Ubuntu 14.10 could also be 
> better 
> than 14.04). 
> 
> Cheers, 
> Joram 
> 
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Re: Git/Lilypond workflow

[Wilbert Berendsen]

Op Thu, 12 Feb 2015 20:33:31 +
Craig Dabelstein  schreef:

> Hi list,
> 
> Would anyone be able to briefly share with me how they use Git with
> Lilypond; i.e. do you create a separate repository for each
> composition you are working on, do you make a separate branch for
> each part while you are working on it and then merge when it is
> finished, if you sell your music do you pay the fee to have private
> repositories, etc.
> 
> I'd appreciate any advice you could share.

I use a repo for my "free"/cpdl etc music: github.com/wbsoft/lilymusic.
I use a private repo using the shell account of my Internet provider
xs4all.nl, for my own music I work on (commercially or for my church
job).

I would rather not have a repo for every single composition, but use
subdirectories for every piece. Although a very large project (like the
Dutch Liedboek) uses one repository.

Wilbert

-- 
Wilbert Berendsen
(http://www.wilbertberendsen.nl)


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Re: Git/Lilypond workflow

[H. S. Teoh]

On Thu, Feb 12, 2015 at 02:07:36PM -0800, Tim Walters wrote:
[...]
> Different strokes, I guess!

Indeed. :-)


> On 2/12/15 1:44 PM, H. S. Teoh wrote:
> >It's not *that* much easier than `mkdir new_composition; cd
> >new_composition; git init`. :-)
> 
> Then you have to push it to the remote server, remember and clone all
> the URLs you've created since the last time you used machine X,
> install or separately pull the common files, etc. Whereas wherever I
> go, I'm either a "git clone" or a "git pull" away from getting to
> work.
[...]

I guess that's where our workflows diverge. I usually use a remote login
to work on my pieces, so the repos are always on the same machine. I
only need to push/pull for backup purposes.

So I suppose all of this goes to show that what's best for one person
may not be suitable for others. It really depends on your particular
workflow and needs, so you need to evaluate how you're going to be using
it before committing to a particular setup. :-)


T

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Re: How to encapsulate TextSpanner?

[H. S. Teoh]

On Thu, Feb 12, 2015 at 09:48:52PM +, Kevin Barry wrote:
> On Thu, Feb 12, 2015 at 9:25 PM, H. S. Teoh  wrote:
> 
> > I've tried various ways of doing this -- putting the commands in a
> > variable, using various Scheme make-script / make-music constructs,
> > etc., but lilypond keeps coming back with error messages. What's the
> > correct syntax for doing this?
> >
> 
> How about:
> 
> \version "2.18.2"
> 
> rall =
> \tweak bound-details.left.text "rall."
> \tweak direction #DOWN
> \startTextSpan
> 
> stopRall = \stopTextSpan
> 
> \relative {
>   a b c\rall d d c b a\stopRall
> }
[...]

Ohh, this works!! Thanks!!! I can't believe I spent so much time trying
to figure this out, when it's so simple...

Why doesn't it work when I use \override instead of \tweak?


T

-- 
Старый друг лучше новых двух.

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Re: How to encapsulate TextSpanner?

[Kevin Barry]

On Thu, Feb 12, 2015 at 10:32 PM, H. S. Teoh  wrote:

> Why doesn't it work when I use \override instead of \tweak?


I think \override doesn't work because it gets between the note and
\startTextSpan (which always has to follow a note). \tweak doesn't `break'
that link, so to speak.
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Re: Caesura in Rehearsal Mark over each line of system

[Kieren MacMillan]

Hi Conor,

> That is beautiful, both in its coding simplicity and in the final product!

Unless you’re planning to have *all* of your marks (including \mark \default, 
etc.) above every staff — which is not a usual engraving convention — why not 
just put the caesura in a global variable that is layered into every staff?

Hope this helps!
Kieren.
___

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www:  
email:  i...@kierenmacmillan.info


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Re: Caesura in Rehearsal Mark over each line of system

[tisimst]

Kieren MacMillan wrote
> Hi Conor,
> 
>> That is beautiful, both in its coding simplicity and in the final
>> product!
> 
> Unless you’re planning to have *all* of your marks (including \mark
> \default, etc.) above every staff — which is not a usual engraving
> convention — why not just put the caesura in a global variable that is
> layered into every staff?

Conor,

I am inclined to agree with Kieren. Manually putting the marks in EVERY
staff can be tedious and error prone, depending on how many you plan to use.
The better way is to create another voice that only contains spacer rests
with the marks at the appropriate position(s), then make it simultaneous
with a voice in each staff. That way you only have to define where the marks
are once, but it is replicated perfectly. Here's a complete example:

%<  SNIP

\version "2.18.2"

markVoice = {
  s1*3
  \mark \default
  s1*5
  \mark \default
  s1*4
}

partI = \relative c' {
 \repeat unfold 13 { c1 }
}

partII = \relative c' {
 \repeat unfold 13 { d1 }
}

\score {
  \new ChoirStaff <<
\new Staff <<
  \new Voice \markVoice
  \new Voice \partI
>>
\new Staff <<
  \new Voice \markVoice
  \new Voice \partII
>>
  >>
  \layout {
\context {
  \Score
  \remove "Mark_engraver"
}
\context {
  \Staff
  \consists "Mark_engraver"
}
  }
}

%<  SNIP

HTH,
Abraham



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Cadence treble clef

[Noeck]

Dear Abraham,

I like your treble clef with a straight diagonal line in the Cadence font. On
the other hand, I prefer the sharper inner edges of Emmentaler. So I end up
using Emmentaler and override the Clef font, which is a solution I am satisfied
with even though it is not perfect.

My question to this: Does it require a whole new font to reconcile the two
things? To have the Emmentaler clefs but the treble clefs with a straighter line
and at the same time no roundings along this diagonal line.
If it is complicated, just forget about this mail. If there is an easy way to
handle it (a font with just the treble clefs or I don’t know, I am fine with
overrides) and not too much work for you, would you do me this favour?

Cheers,
Joram




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Re: Caesura in Rehearsal Mark over each line of system

[Conor Cook]

Kieren,




In the particular score I am working on, I have only this one mark (it's about 
30 measures long total).




What would an example of your suggestion look like, as I can see your concern 
applying down the road.




~Conor



—
Sent from Mailbox

On Thu, Feb 12, 2015 at 4:44 PM, Kieren MacMillan
 wrote:

> Hi Conor,
>> That is beautiful, both in its coding simplicity and in the final product!
> Unless you’re planning to have *all* of your marks (including \mark \default, 
> etc.) above every staff — which is not a usual engraving convention — why not 
> just put the caesura in a global variable that is layered into every staff?
> Hope this helps!
> Kieren.
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Re: Broken ligatures in recent LilyPond versions

[lilypond]

Forgive my ignorance, but if I don't ask, I won't learn.

On Thu, Feb 12, 2015 at 09:19:22PM +0100, Noeck wrote:
> 
> Snippet:
> 
> \paper {
>   fonts = #
>   (make-pango-font-tree
>"Linux Libertine O"
>"Linux Biolinum O"
>"Ubuntu Mono"
>(/ (* staff-height pt) 2.5))
> }
> 
> \markup "Ligatures: The Que fi fl"

I never use ligatures, so I'm puzzled about the syntax here.

What is special about that markup syntax that tells lily that
there are any ligatures present in the markup?

What if the markup were:

\markup "Ligatures: The Que fine flour"

Does that markup also contain ligatures?

Thanks for the edification!


Jim

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Re: Broken ligatures in recent LilyPond versions

[Noeck]

Hi Jim,

concerning ligatures, you can forget about my paper block. It was just there,
because I know this font has ligatures. This markup line should be all you need:

>> \markup "Ligatures: The Que fi fl"

> What is special about that markup syntax that tells lily that
> there are any ligatures present in the markup?

There is nothing special in the syntax. The backend should know itself, that the
font has some ligature defined which means f and i following one another are not
separate letters fi but combined into a combined symbol: fi
And (if defined in the font) the same holds for: f + l = fl and others.

Is it clearer now?

Here is more about it: http://en.wikipedia.org/wiki/Typographic_ligature

Cheers,
Joram

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Re: global marks

[Flaming Hakama by Elaine]

>
> I am inclined to agree with Kieren. Manually putting the marks in EVERY
> staff can be tedious and error prone, depending on how many you plan to
> use.
> The better way is to create another voice that only contains spacer rests
> with the marks at the appropriate position(s), then make it simultaneous
> with a voice in each staff. That way you only have to define where the
> marks
> are once, but it is replicated perfectly.
>

I am wondering if folks would mind commenting on their experience using
this type of approach:

new Staff <<
  \new Voice \markVoice
  \new Voice \partI
>>

In particular, how much can you put in the \markVoice?  Would this approach
work for:

o Marks
o Tempi
o Time signatures
o Key signatures
o Repeats
o Double bar lines
o Symbols like coda, DS, fermata

Also, if you are using tags, is this how you would combine these syntaxes:

new Staff <<
  \new Voice \markVoice
  \new Voice \keepWithTag #'tagPartI \partI
>>


Thanks,

David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: Git/Lilypond workflow

[Craig Dabelstein]

Thanks for the advice everyone. I appreciate your experience.

Craig


On Fri Feb 13 2015 at 8:24:28 AM H. S. Teoh  wrote:

> On Thu, Feb 12, 2015 at 02:07:36PM -0800, Tim Walters wrote:
> [...]
> > Different strokes, I guess!
>
> Indeed. :-)
>
>
> > On 2/12/15 1:44 PM, H. S. Teoh wrote:
> > >It's not *that* much easier than `mkdir new_composition; cd
> > >new_composition; git init`. :-)
> >
> > Then you have to push it to the remote server, remember and clone all
> > the URLs you've created since the last time you used machine X,
> > install or separately pull the common files, etc. Whereas wherever I
> > go, I'm either a "git clone" or a "git pull" away from getting to
> > work.
> [...]
>
> I guess that's where our workflows diverge. I usually use a remote login
> to work on my pieces, so the repos are always on the same machine. I
> only need to push/pull for backup purposes.
>
> So I suppose all of this goes to show that what's best for one person
> may not be suitable for others. It really depends on your particular
> workflow and needs, so you need to evaluate how you're going to be using
> it before committing to a particular setup. :-)
>
>
> T
>
> --
> Do not reason with the unreasonable; you lose by definition.
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
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Re: Caesura in Rehearsal Mark over each line of system

[Kieren MacMillan]

Hi Conor,

> In the particular score I am working on, I have only this one mark (it's 
> about 30 measures long total).
> What would an example of your suggestion look like, as I can see your concern 
> applying down the road.

Snippet included below.

1. In both scores, the breath mark appears in all Staff contexts (because it’s 
in \global, which is included in every Staff).
2. In the second score with the Mark_engraver moved to the Staff context level, 
the ‘A’ rehearsal mark is above every Staff — likely not desired behaviour.

In general, the \global variable should contain everything that you want in 
every Voice — like time signatures, tonalities, etc. — and engravers should be 
\consist-ed at the appropriate level to display the grobs where they are 
needed/desired.

Hope this helps!
Kieren.
_

\version "2.19.15"

\paper {
  ragged-right = ##f
}

global = {
  \key d \minor
  \tempo "Lugubrioso" 4=22
  \time 4/4
  s1
  \time 3/4
  s4*3
  \breathe
  \mark \default
  \time 5/8
  s8*5
  \breathe
  \time 4/4
  s1
}

theNotes = {
  c''1
  c''2.
  c''4. ~ 4
  c''1
}

\markup "With Mark_engraver at the Score level (= default):"
\score {
  <<
\new Staff << \global \theNotes >>
\new Staff << \global \theNotes >>
  >>
}

\markup "With Mark_engraver moved to the Staff level:"
\score {
  <<
\new Staff << \global \theNotes >>
\new Staff << \global \theNotes >>
  >>
  \layout {
\context {
  \Score
  \remove "Mark_engraver"
}
\context {
  \Staff
  \consists "Mark_engraver"
}
  }
}
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Re: Grand Advanced Stylesheet Project (GASP)

[Noeck]

Hi Kieren,

did I miss something or what happened to GASP? I don’t want to urge anyone, I am
just curious. Is there any repository and plans how to contribute?

Cheers,
Joram

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Re: Git/Lilypond workflow

[Ernie Braganza]

I use one repository, a number of shared directories, and then one
subdirectory for each project.

I create a branch off of my master branch  whenever I start a project (and
often a number of branches off of that for experiments) and make a lot of
commits, then I rebase and squash all the commits into one before I merge
the project branch back into master.

I never develop (compose) in the master branch. I make all my changes in
the project branches and then, merge those into master.

Ernie

On Thu, Feb 12, 2015 at 5:21 PM, H. S. Teoh  wrote:

> On Thu, Feb 12, 2015 at 02:07:36PM -0800, Tim Walters wrote:
> [...]
> > Different strokes, I guess!
>
> Indeed. :-)
>
>
> > On 2/12/15 1:44 PM, H. S. Teoh wrote:
> > >It's not *that* much easier than `mkdir new_composition; cd
> > >new_composition; git init`. :-)
> >
> > Then you have to push it to the remote server, remember and clone all
> > the URLs you've created since the last time you used machine X,
> > install or separately pull the common files, etc. Whereas wherever I
> > go, I'm either a "git clone" or a "git pull" away from getting to
> > work.
> [...]
>
> I guess that's where our workflows diverge. I usually use a remote login
> to work on my pieces, so the repos are always on the same machine. I
> only need to push/pull for backup purposes.
>
> So I suppose all of this goes to show that what's best for one person
> may not be suitable for others. It really depends on your particular
> workflow and needs, so you need to evaluate how you're going to be using
> it before committing to a particular setup. :-)
>
>
> T
>
> --
> Do not reason with the unreasonable; you lose by definition.
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: global marks

[Kieren MacMillan]

Hi Elaine,

> I am wondering if folks would mind commenting on their experience using this 
> type of approach:
> 
> new Staff <<
>   \new Voice \markVoice
>   \new Voice \partI
> >>

I don’t usually define a new Voice for it:

\new Staff << \marks \partI >>

But I’m 100% in favour of the concept, and use it in every single score I 
engrave.

> In particular, how much can you put in the \markVoice?  Would this approach 
> work for:
> o Marks
> o Tempi
> o Time signatures
> o Key signatures
> o Repeats
> o Double bar lines
> o Symbols like coda, DS, fermata

Yes — all of that and more. Engravers can be moved around between contexts to 
make sure things appear where they are meant to be (e.g., Mark_engraver usually 
at the Score level, Time_signature_engraver usually at the Staff level, etc.).

> Also, if you are using tags, is this how you would combine these syntaxes:
> new Staff <<
>   \new Voice \markVoice
>   \new Voice \keepWithTag #'tagPartI \partI
> >>

That would work, of course. However, it might be simpler to just wrap the whole 
thing, e.g.

  \new Staff \keepWithTag #’partI <<
\new Voice \markVoice
\new Voice \partI
  >>

in case there are “conditional items” in the mark part.

One final [semi-related] note: 95% (or maybe more) of my \tag usage has been 
eliminated by using the \editionEngraver.

Hope this helps!
Kieren.
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Re: Broken ligatures in recent LilyPond versions

[Jim Long]

On Fri, Feb 13, 2015 at 12:36:10AM +0100, Noeck wrote:
> Hi Jim,
> 
> concerning ligatures, you can forget about my paper block. It was just there,
> because I know this font has ligatures. This markup line should be all you 
> need:
> 
> >> \markup "Ligatures: The Que fi fl"
> 
> > What is special about that markup syntax that tells lily that
> > there are any ligatures present in the markup?
> 
> There is nothing special in the syntax. The backend should know itself, that 
> the
> font has some ligature defined which means f and i following one another are 
> not
> separate letters fi but combined into a combined symbol: ???
> And (if defined in the font) the same holds for: f + l = ??? and others.
> 
> Is it clearer now?
> 
> Here is more about it: http://en.wikipedia.org/wiki/Typographic_ligature
> 
> Cheers,
> Joram

Thanks for the reply.  So do I understand you correctly, that if
a font contains a ligature for a given sequence of characters,
then Lilypond will always typeset that character sequence using
the ligature, and it is not possible to typeset them as separate
glyphs?

That is to say, the following naive example is not possible to
implement, because if FontA defines that f followed by i will
always be ligatured, it is not possible (at least in Lilypond) to
typeset them separately?  And if there is a ligature for AE, then
likewise for the capitalized vowels?

\markup "this is FontA with a ligature: fi"
\markup "this is FontA without a ligature: fi"
\markup "capitalized vowels: AEIOU"

Thanks!

Jim

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Partial problem

[William Marchant]

Hi,

Using the following code in 3/4 time

 \partial 1  g'4 | %Bar0
  c,4. d8 e[ g] | %Bar 1

gets the following error.

barcheck failed at: -3/4

\partial 1 g'4

| %Bar0

The engraving completes, and the error can be ignored,
but I still would like to correct it.

I have tried all sorts of other combinations of numbers without success.
Bill

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Re: Partial problem

[Noeck]

> Hi,
> 
> Using the following code in 3/4 time
> 
>  \partial 1  g'4 | %Bar0
>   c,4. d8 e[ g] | %Bar 1
> 
> gets the following error.
> 
> barcheck failed at: -3/4
> 
> \partial 1 g'4

You probably want to write \partial 4 instead of \partial 1
because the g'4 is only a quarter note and not a whole note.

HTH,
Joram

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Re: Broken ligatures in recent LilyPond versions

[lilypond]

On Fri, Feb 13, 2015 at 12:36:10AM +0100, Noeck wrote:
> Hi Jim,
> 
> concerning ligatures, you can forget about my paper block. It was just there,
> because I know this font has ligatures. This markup line should be all you 
> need:
> 
> >> \markup "Ligatures: The Que fi fl"

Joram:

I'm trying to just reproduce your symptoms, out of curiousity,
and as a learning exercise.  I can't produce the output image you
posted earlier.  My input and output are attached.

I have downloaded and installed all three fonts you mentioned,
and both fc-list and lilypond see that they are available.  But
my output is very sans-serif compared to yours.

Jim

$ fc-list | egrep 'Lin|Ubu'
/usr/local/lib/X11/fonts/TTF/LinLibertine_DRah.ttf: Linux Libertine 
Display:style=Regular
/usr/local/lib/X11/fonts/TTF/LinLibertine_RZah.ttf: Linux 
Libertine:style=Semibold
/usr/local/lib/X11/fonts/TTF/UbuntuMono-BI.ttf: Ubuntu Mono:style=Bold Italic
/usr/local/lib/X11/fonts/TTF/Ubuntu-M.ttf: Ubuntu,Ubuntu Light:style=Medium,Bold
/usr/local/lib/X11/fonts/TTF/LinLibertine_Mah.ttf: Linux Libertine 
Mono:style=Mono
/usr/local/lib/X11/fonts/TTF/Ubuntu-L.ttf: Ubuntu,Ubuntu 
Light:style=Light,Regular
/usr/local/lib/X11/fonts/TTF/LinLibertine_I.ttf: Linux Libertine 
Initials:style=Initials
/usr/local/lib/X11/fonts/TTF/LinBiolinum_Rah.ttf: Linux Biolinum:style=Regular
/usr/local/lib/X11/fonts/TTF/Ubuntu-MI.ttf: Ubuntu,Ubuntu Light:style=Medium 
Italic,Bold Italic
/usr/local/lib/X11/fonts/TTF/LinLibertine_RBah.ttf: Linux Libertine:style=Bold
/usr/local/lib/X11/fonts/TTF/UbuntuMono-RI.ttf: Ubuntu Mono:style=Italic
/usr/local/lib/X11/fonts/TTF/LinBiolinum_RBah.ttf: Linux Biolinum:style=Bold
/usr/local/lib/X11/fonts/TTF/UbuntuMono-B.ttf: Ubuntu Mono:style=Bold
/usr/local/lib/X11/fonts/TTF/Ubuntu-C.ttf: Ubuntu Condensed:style=Regular
/usr/local/lib/X11/fonts/TTF/Ubuntu-BI.ttf: Ubuntu:style=Bold Italic
/usr/local/lib/X11/fonts/TTF/LinLibertine_RBIah.ttf: Linux Libertine:style=Bold 
Italic
/usr/local/lib/X11/fonts/TTF/Ubuntu-LI.ttf: Ubuntu,Ubuntu Light:style=Light 
Italic,Italic
/usr/local/lib/X11/fonts/TTF/LinLibertine_RZIah.ttf: Linux 
Libertine:style=Semibold Italic
/usr/local/lib/X11/fonts/TTF/LinBiolinum_RIah.ttf: Linux Biolinum:style=Italic
/usr/local/lib/X11/fonts/TTF/Ubuntu-RI.ttf: Ubuntu:style=Italic
/usr/local/lib/X11/fonts/TTF/UbuntuMono-R.ttf: Ubuntu Mono:style=Regular
/usr/local/lib/X11/fonts/TTF/LinLibertine_Rah.ttf: Linux Libertine:style=Regular
/usr/local/lib/X11/fonts/TTF/LinBiolinum_Kah.ttf: Linux Biolinum 
Keyboard:style=Regular
/usr/local/lib/X11/fonts/TTF/LinLibertine_RIah.ttf: Linux Libertine:style=Italic
/usr/local/lib/X11/fonts/TTF/Ubuntu-R.ttf: Ubuntu:style=Regular
/usr/local/lib/X11/fonts/TTF/Ubuntu-B.ttf: Ubuntu:style=Bold

$ lilypond -dshow-available-fonts x 2>&1 | egrep 'Lin|Ubu'
family Linux Libertine
 Linux Libertine:style=Semibold Italic
family Ubuntu Mono
 Ubuntu Mono:style=Bold
family Linux Libertine
 Linux Libertine:style=Bold
family Ubuntu
 Ubuntu,Ubuntu Light:style=Light,Regular
family Ubuntu
 Ubuntu:style=Bold Italic
family Ubuntu Mono
 Ubuntu Mono:style=Bold Italic
family Linux Libertine
 Linux Libertine:style=Semibold
family Ubuntu Mono
 Ubuntu Mono:style=Regular
family Ubuntu
 Ubuntu:style=Bold
family Linux Libertine Display
 Linux Libertine Display:style=Regular
family Linux Biolinum
 Linux Biolinum:style=Regular
family Linux Libertine Initials
 Linux Libertine Initials:style=Initials
family Ubuntu
 Ubuntu:style=Italic
family Linux Libertine
 Linux Libertine:style=Italic
family Linux Biolinum
 Linux Biolinum:style=Bold
family Linux Libertine
 Linux Libertine:style=Bold Italic
family Linux Libertine Mono
 Linux Libertine Mono:style=Mono
family Linux Biolinum
 Linux Biolinum:style=Italic
family Ubuntu
 Ubuntu,Ubuntu Light:style=Medium Italic,Bold Italic
family Ubuntu
 Ubuntu,Ubuntu Light:style=Light Italic,Italic
family Linux Biolinum Keyboard
 Linux Biolinum Keyboard:style=Regular
family Linux Libertine
 Linux Libertine:style=Regular
family Ubuntu
 Ubuntu:style=Regular
family Ubuntu Mono
 Ubuntu Mono:style=Italic
family Ubuntu
 Ubuntu,Ubuntu Light:style=Medium,Bold
family Ubuntu Condensed
 Ubuntu Condensed:style=Regular

$ lilypond -dbackend=eps -dinclude-eps-fonts -dpixmap-format=pngalpha --png 
ligatures.ly   
GNU LilyPond 2.18.2
Processing `ligatures.ly'
Parsing...
ligatures.ly:1: warning: no \version statement found, please add

\version "2.18.2"

for future compatibility
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `ligatures.eps'...
Converting to PNG...
Layout output to `ligatures-1.eps'...
Writing ligatures-systems.texi...
Writing ligatures-systems.tex...
Writing ligatures-systems.count...
Success: compilation successfully completed

\paper {
  fonts = #
  (make-pango-font-tree
   "Linux Libertine O"
   "Linux Biolinum O"
   "Ubuntu Mono"
   (/ (* staff-height pt) 2.5))
}

\markup "Ligatures: The Que fi fl"

Augmentation Dot Appearance

[thepocketwade]

Is it possible to change the appearance of augmentation dots?  I'd like to
use an open dot (think a degree symbol), to indicate adding 1/4 of note
value.  I've only seen this notation in Stuart Saunders Smith's pieces, but
it seems useful.  

Thanks for your help.  



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[Announce] Boulez anyone?

[tisimst]

Fellow engravers,

The OFL font "Boulez", known for its parallelogram-shaped flags and
originally designed for Finale, is now available at  fonts.openlilylib.org
  , under the reserved font name
"LilyBoulez"! The accompanying font stylesheets have been added/updated as
well.

Donations for my efforts are always welcome, but not required of course.
Either way, go check it out and let me know if something doesn't work.

And for all you MuseScore users out there, past and present, you'll notice
my take on Marc Sabatella's "Reunion" as one of the example scores to
showcase this font.

Happy Engraving,
Abraham 



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Re: Augmentation Dot Appearance

[Nathan Ho]

On Thu, Feb 12, 2015 at 6:16 PM, thepocketwade  wrote:
>
> Is it possible to change the appearance of augmentation dots?  I'd like to
> use an open dot (think a degree symbol), to indicate adding 1/4 of note
> value.  I've only seen this notation in Stuart Saunders Smith's pieces, but
> it seems useful.
>
> Thanks for your help.

Here ya go:

%%%

\version "2.19.8"

#(define (draw-semi-dots grob)
   (let* ((count (ly:grob-property grob 'dot-count))
  (dot (grob-interpret-markup grob (markup #:musicglyph "dots.dot")))
  (dot-width ((lambda (ext) (- (cdr ext) (car ext)))
(ly:stencil-extent dot X)))
  (semi-dot (grob-interpret-markup grob (markup #:draw-circle
(* 0.5 dot-width) 0.1 #f)))
  (stil (make-transparent-box-stencil '(0 . 0) '(0 . 0
 (if (number? count)
   (let loop ((i count))
 (if (= i 0) stil
   (begin
 (set! stil (ly:stencil-combine-at-edge stil X RIGHT
semi-dot dot-width))
 (loop (- i 1

semiDot = #(define-music-function (parser location music) (ly:music?)
 #{
   \temporary \override Staff.Dots.stencil = #draw-semi-dots
   \scaleDurations #'(5 . 6) $music
   \revert Staff.Dots.stencil
 #})

\new Staff {
  \time 2/4
  \semiDot c'4. d'8. \semiDot e'4. f'8.
}

%%%

Regards,
Nathan

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Re: using variable in "\translate #'(10 . 30) \center-align Ignatzek

[MarcM]

thanks. Now seeing that you used 'cons' my Lisp studies came back to my mind
and made me realize the Quote operator is a shortcut for constructing a
list.

i searched the doc for what arguments 'translate' take and the only doc was
about translating music not taking coordinates.

thanks again.




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Re: Caesura in Rehearsal Mark over each line of system

[Johan Vromans]

On Thu, 12 Feb 2015 19:32:30 -0500
Kieren MacMillan  wrote:

> In general, the \global variable should contain everything that you want
> in every Voice — like time signatures, tonalities, etc. 

Yes, but it's very unfortunate this does not work for \repeats when
generating MIDI with \unfoldRepeats:

  "In scores containing multiple voices, unfolding of repeats in MIDI output
  will only occur correctly if each voice contains fully notated repeat
  indications."

-- Johan

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Lilypond, Linux and Vim

[Kevin Tough]

Once again my favorite linux OS Fedora is giving me  some problems. The
implementation of Lilypond with Vim is good. Packaged with Lilypond
2.18.2 the software is reasonably up to date. Networking with Fedora has
recently given me problems with one notebook no longer making it's wired
connection.
I'd be grateful for a few suggestions of worthy OS alternatives in the
linux world that also implement Lilypond. My searches some months ago
surprised me that Lilypond standard implementation by many Linix
flavours was not so up to date.

Namaste,
Kevin Tough


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