Re: Two types of glissandi in the same score?

[Klaus Blum]

Hi torchflame, 

could you provide a complete example, even if it doesn't compile? This would
help to find a solution.
Here's a snippet that might help:  http://lsr.di.unimi.it/LSR/Item?id=962
  

Cheers, 
Klaus




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Re: CueVoice with 'partial' start

[Pierre Perol-Schneider]

Very clever, thanks much Harm.

Cheers,
Pierre

2015-02-28 0:26 GMT+01:00 Thomas Morley :

> 2015-02-27 17:15 GMT+01:00 Pierre Perol-Schneider
> :
> > Dear LilyPonders,
> >
> > I have a cueVoice which starts with a 'partial'.
> > The best way I found to reach that is to replace the cue clef grob:
> >
> > {
> >   \clef bass
> >   \time 3/4
> >   \compressFullBarRests
> >   <<
> > { R2.*25 }
> > \new CueVoice \relative c''' {
> >   s2.*23
> >   \override Staff.MultiMeasureRest.staff-position = #-4
> >   \override Staff.Clef.font-size = #-2
> >   \once\override Staff.Clef.stencil = #(lambda (grob)
> >   ly:clef::print (grob-interpret-markup grob
> >   #{
> > \markup\raise #1
> > \score {
> >   { cis'''4^. }
> >   \layout {
> > \context {
> >   \Staff
> >   \clef G
> >   \omit TimeSignature
> >   \omit StaffSymbol
> >   fontSize = #-3.7
> > }
> >   }
> > }
> >   #}))
> >   \clef G
> >   d2.->
> >   -\tweak extra-offset #'(-3.5 . 0)
> >   ^\markup "Fl.Ob.Viol.I"
> >   c2-> b4-.
> >   \clef F
> > }
> >   >>
> >   a,2.
> >   \revert Staff.Clef.font-size
> >   \revert Staff.MultiMeasureRest.staff-position
> > }
> >
> >
> > Does anyone have a more elegant solution ?
> >
> > TIA,
> > Pierre
>
> Hi Pierre,
>
> maybe the following, I'm not convinced either.
>
> \version "2.19.15"
>
> \new Staff {
>   \clef bass
>   \time 3/4
>   \compressFullBarRests
>   <<
> { R2.*25 }
> \new CueVoice \relative c''' {
>   s2.*23
>   %% The big drawback!
>   %% 'X-offset needs to be set manually
>   %% Is there a different possibility?
>   \once \override Staff.MultiMeasureRest.X-offset = #1
>   \bar ""
>   \override Staff.Clef.font-size = #-2
>   \override Staff.MultiMeasureRest.staff-position = #-4
>   \grace {
> \clef treble
> %% adds a little space, if needed
> %s8
> \stemDown
> %% make grace-notes the same size as the main notes in
> CueVoice
> %% not sure about the value, may need to be adjusted
> \set fontSize = #-1
> %% maybe needed:
> %\once \override TextScript.outside-staff-priority = -50
> %% let extend Stem to middle line, where needed
> \once \override Stem.no-stem-extend = ##f
> cis4^.^\markup \fontsize #-4 "Fl.Ob.Viol.I"
> \bar "|"
> %% back to the default fontSize for CueVoice
> \set fontSize = #-4
>   }
>   d2.->
>   %% maybe add the following; will not work above, though
>   %\once \override Staff.MultiMeasureRest.spacing-pair =
>   %#'(staff-bar . staff-bar)
>   c2-> b4-.
>   \clef F
> }
>   >>
>   a,2.
>   \revert Staff.Clef.font-size
>   \revert Staff.MultiMeasureRest.staff-position
> }
>
> Cheers,
>   Harm
>
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2 questions re this file

[Peter Teeson]

Hi:

1. How can I break the composer text so it appears like this on the score:
Music: Thomas 'Fats' Waller 
 & Harry Brooks

 2. How can I make the last word of VerseTwo appear in the 2nd repeat (not in 
the 1st as happens now)
 Here is the pdf  

Ain't Misbehavin v3.pdf
Description: Adobe PDF document

(NOTE: The console log is clean except for the ubiquitous barcheck issue 99!!)

TIA

Peter
-- here is the .ly file 

\version "2.19.15"
\header {
  title = "Ain't Misbehavin'"
  poet = "Words: Andy Razal "
  composer = "Music: Thomas 'Fats' Waller & Harry Brooks"
  meter = "Slowly"
  tagline = \markup {
\column {
  "LilyPond file by Peter Teeson, Toronto 2015/02/25"
}
  }
}

\include "english.ly"  % English accidental names f = flat, s = sharp
#(set-global-staff-size 30)

melody = \relative c' {
\key ef \major
\time 2/2 
\clef treble
\repeat volta 2 { 
r8 ef f ef d' d4. | r8 f, g f c'2 |
r8 bf c bf ef ef4 d8 | f ef c  g~ g gf4 f8 |
r8 ef f ef d' d4. | r8 f, g f c' c4 bf8 |
}
\alternative {
{ g1~ | g1 |}
{ g1~ | g2. r4}
 }
}

VerseOne = \lyricmode {
\override Lyrics.LyricHyphen.minimum-distance = 1
\set stanza = "#1. "
No one to talk with, | all by my -- self,
no one to walk with, but | I'm hap -- py on __ the shelf, |
Ain't Mis -- be -- hav -- in' | I'm sav -- in' my love for |
you __ |
}

VerseTwo = \lyricmode {
\override Lyrics.LyricHyphen.minimum-distance = 1
\set stanza = "#2. "
I know for cer -- tain | the one I love, 
I'm thru with flir -- tin' | it's just you I'm think -- in' of.
Ain't Mis -- be -- hav -- in' | I'm sav -- in' my love for |
you __ |
}

\score {
<<  
\new Voice = "one" { \melody }
\new Lyrics \lyricsto "one" { \VerseOne }
\new Lyrics \lyricsto "one" { \VerseTwo }
>>
\layout { }
\midi { }
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Re: 2 questions re this file

[tisimst]

Peter,

On Sat, Feb 28, 2015 at 10:51 AM, Peter Teeson-3 [via Lilypond] 
 wrote:
> Hi: 
> 
> 1. How can I break the composer text so it appears like this on the 
> score: 
> Music: Thomas 'Fats' Waller 
>  & Harry Brooks 

Tailor this to your tastes:

composer = \markup { \center-column { "Music: Thomas 'Fats' Waller" "& 
Harry Brooks" } }

>  2. How can I make the last word of VerseTwo appear in the 2nd repeat 
> (not in the 1st as happens now) 

You can put the lyrics in the same "\repeat { ... } \alternative { 
{...} {...} }" structure as the music. Try that out.

- Abraham




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Re: 2 questions re this file

[Thomas Morley]

2015-02-28 18:50 GMT+01:00 Peter Teeson :
> Hi:
>
> 1. How can I break the composer text so it appears like this on the score:
> Music: Thomas 'Fats' Waller
>  & Harry Brooks
>
>  2. How can I make the last word of VerseTwo appear in the 2nd repeat (not in 
> the 1st as happens now)

I'd do:

VerseTwo = \lyricmode {
\override Lyrics.LyricHyphen.minimum-distance = 1
\set stanza = "#2. "
I know for cer -- tain  the one I love,
I'm thru with flir -- tin'  it's just you I'm think -- in' of.
Ain't Mis -- be -- hav -- in'  I'm sav -- in' my love for
%% use skip
%\skip1*2
%% or use underscore
_ you __
}

>  Here is the pdf 
>
> (NOTE: The console log is clean except for the ubiquitous barcheck issue 99!!)

I'm with Han-Wen
http://code.google.com/p/lilypond/issues/detail?id=99#c1
don't seeing a bug here.

Don't use bar-checks in combination with \lyricsto, they sometimes
will return warnings and they _should_ do so, imho.

Cheers,
  Harm

> TIA
>
> Peter
> -- here is the .ly file 
>
> \version "2.19.15"
> \header {
>   title = "Ain't Misbehavin'"
>   poet = "Words: Andy Razal "
>   composer = "Music: Thomas 'Fats' Waller & Harry Brooks"
>   meter = "Slowly"
>   tagline = \markup {
> \column {
>   "LilyPond file by Peter Teeson, Toronto 2015/02/25"
> }
>   }
> }
>
> \include "english.ly"  % English accidental names f = flat, s = sharp
> #(set-global-staff-size 30)
>
> melody = \relative c' {
> \key ef \major
> \time 2/2
> \clef treble
> \repeat volta 2 {
> r8 ef f ef d' d4. | r8 f, g f c'2 |
> r8 bf c bf ef ef4 d8 | f ef c  g~ g gf4 f8 |
> r8 ef f ef d' d4. | r8 f, g f c' c4 bf8 |
> }
> \alternative {
> { g1~ | g1 |}
> { g1~ | g2. r4}
>  }
> }
>
> VerseOne = \lyricmode {
> \override Lyrics.LyricHyphen.minimum-distance = 1
> \set stanza = "#1. "
> No one to talk with, | all by my -- self,
> no one to walk with, but | I'm hap -- py on __ the shelf, |
> Ain't Mis -- be -- hav -- in' | I'm sav -- in' my love for |
> you __ |
> }
>
> VerseTwo = \lyricmode {
> \override Lyrics.LyricHyphen.minimum-distance = 1
> \set stanza = "#2. "
> I know for cer -- tain | the one I love,
> I'm thru with flir -- tin' | it's just you I'm think -- in' of.
> Ain't Mis -- be -- hav -- in' | I'm sav -- in' my love for |
> you __ |
> }
>
> \score {
> <<
> \new Voice = "one" { \melody }
> \new Lyrics \lyricsto "one" { \VerseOne }
> \new Lyrics \lyricsto "one" { \VerseTwo }
> >>
> \layout { }
> \midi { }
> }
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Re: Two types of glissandi in the same score?

[Kevin Barry]

On Sat, Feb 28, 2015 at 3:21 AM, torchflame  wrote:

> Any help on this matter would be much appreciated.


Hi Torchflame,

I'm not sure exactly what you're trying to do. If you want to create a
glissando function you have to give it a name. The two examples you posted
have no names so I suppose there is no way for you to call them in your
code (but I can't be sure without seeing it).

Anyway if I understand you correctly you can simply put these things into a
normal LilyPond variable with tweaks like this:

\version "2.18.2"

glissArrow =
-\tweak bound-details.right.arrow ##t
\glissando

glissArrowDashed =
-\tweak bound-details.right.arrow ##t
-\tweak style #'dashed-line
\glissando

myMusic = { b1\glissArrow b\glissArrowDashed b }

\score {
  \myMusic
}
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Re: 2 questions re this file

[Cynthia Karl]

> On Feb 28, 2015, at 11:50 AM,Peter Teeson  wrote:
> 
> 
> Hi:
> 
> 1. How can I break the composer text so it appears like this on the score:
>   Music: Thomas 'Fats' Waller 
>& Harry Brooks

 composer = \markup { \concat { "Music: "  
\column { "Thomas 'Fats' Waller" \vspace #-.4 " 
& Harry Brooks" } } }

> 
> 2. How can I make the last word of VerseTwo appear in the 2nd repeat (not in 
> the 1st as happens now)

You have two choices (I think the 2nd one looks better):

*  make the last line of VerseTwo read:  \skip 1 you __

* make the last line of VerseOne read:  you __ you __

HTH
Pat Karl
> Here is the pdf  
> -- next part --
> A non-text attachment was scrubbed...
> Name: Ain't Misbehavin v3.pdf
> Type: application/pdf
> Size: 66428 bytes
> Desc: not available
> URL: 
> <http://lists.gnu.org/archive/html/lilypond-user/attachments/20150228/92554492/attachment.pdf>
> -- next part --
> 
> (NOTE: The console log is clean except for the ubiquitous barcheck issue 99!!)
> 
> TIA
> 
> Peter
> -- here is the .ly file 
> 
> \version "2.19.15"
> \header {
>  title = "Ain't Misbehavin'"
>  poet = "Words: Andy Razal "
>  composer = "Music: Thomas 'Fats' Waller & Harry Brooks"
>  meter = "Slowly"
>  tagline = \markup {
>\column {
>  "LilyPond file by Peter Teeson, Toronto 2015/02/25"
>}
>  }
> }
> 
> \include "english.ly"  % English accidental names f = flat, s = sharp
> #(set-global-staff-size 30)
> 
> melody = \relative c' {
>   \key ef \major
>   \time 2/2 
>   \clef treble
>   \repeat volta 2 { 
>   r8 ef f ef d' d4. | r8 f, g f c'2 |
>   r8 bf c bf ef ef4 d8 | f ef c  g~ g gf4 f8 |
>   r8 ef f ef d' d4. | r8 f, g f c' c4 bf8 |
>   }
>   \alternative {
>   { g1~ | g1 |}
>   { g1~ | g2. r4}
>}
> }
> 
> VerseOne = \lyricmode {
>   \override Lyrics.LyricHyphen.minimum-distance = 1
>   \set stanza = "#1. "
>   No one to talk with, | all by my -- self,
>   no one to walk with, but | I'm hap -- py on __ the shelf, |
>   Ain't Mis -- be -- hav -- in' | I'm sav -- in' my love for |
>   you __ |
> }
> 
> VerseTwo = \lyricmode {
>   \override Lyrics.LyricHyphen.minimum-distance = 1
>   \set stanza = "#2. "
>   I know for cer -- tain | the one I love, 
>   I'm thru with flir -- tin' | it's just you I'm think -- in' of.
>   Ain't Mis -- be -- hav -- in' | I'm sav -- in' my love for |
>   you __ |
> }
> 
> \score {
>   <<  
>   \new Voice = "one" { \melody }
>   \new Lyrics \lyricsto "one" { \VerseOne }
>   \new Lyrics \lyricsto "one" { \VerseTwo }
>   >>
>   \layout { }
>   \midi { }
> }
> 
> --


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ugly default output

[Martin Tarenskeen]

Hi,

I am typesetting a simple Beethoven 4-mains. I am in the very first stage 
of entering the notes - without additional tweaks to optimize the output.


Having entered one line of music it occurred to me that the spacing looks 
quite sub-optimal. Not to say plain ugly.


Just to illustrate that LilyPond is great (I have produced many really 
good looking scores using only minimal tweaking) but there isstill enough 
room for improvement: see the attached pdf example.


The example was produced using LilyPond 2.19.15

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Beethoven-Dans-I-noten.pdf
Description: Adobe PDF document
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Re: 2 questions re this file

[Peter Teeson]

On 2015-02-28, at 1:18 PM, Thomas Morley  wrote:
> 2015-02-28 18:50 GMT+01:00 Peter Teeson :
>> 2. How can I make the last word of VerseTwo appear in the 2nd repeat (not in 
>> the 1st as happens now)
>%\skip1*2
\skip1 worked the way I desired.

> Don't use bar-checks in combination with \lyricsto, they sometimes
> will return warnings.
I removed the bar checks in the lyrics and all is OK.
(I put them in because Learning suggested it…)

thanks…

Peter (newbie)
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Re: Bug in articulate.ly

[H. S. Teoh]

On Fri, Feb 27, 2015 at 05:14:09PM -0800, Flaming Hakama by Elaine wrote:
[...]
> I've recently been using lilypond with articulate.ly to produce midi
> versions of pieces and have to say that, despite its limitations, I've
> been getting results that are not terrible.

I've been getting mixed results. For certain types of pieces, it's quite
acceptable. But for others, it's quite a lot of work to get it to the
point of being tolerable.


> Among other things, it depends on the Virtual Instruments you use to
> render the sound.  Bad instruments will never sound good.

Definitely! I've been using a software synthesizer (TiMidity++) with
some high-quality soundfonts, and have been able to get quite decent
output for some pieces. It does require some effort to setup and tune,
though.


> Decent results are only possible if you include a lot of detailed
> articulations and dynamics, perhaps more than you would put in a part
> intended for a human.  Although some schools of thought say this is
> good for printed parts, too.

It's a toss-up for me. Some of my pieces intentionally leave a lot of
things open to interpretation -- because I want the performer the
freedom to interpret.  But for a computer, that obviously produces
rather poor results (very mechanical and dry -- perhaps even a
caricature of my intent!). Other pieces are more precise, and generally
tend to produce better results.

Ideally, I'd like to be able to specify interpretations of elements in
the typeset score, for example, something like:

% (This is hypothetical syntax)
| \interpret{ a1\prall } { b16 a gis b a2. } |

which would cause the { a1\prall } appear on the score, but { b16 a gis
b a2. } to be output to MIDI in its place.

I know \articulate already expands prall trillers, but the idea is that
you'd specify what should appear the score alongside with its specific
interpretation (or one of the many possible interpretations thereof).
Another example is that you could indicate "tempo rubato" and then
specify as interpretation one of the many possible actual tempo(s) that
would be used for rendering the MIDI.


> Also, it requires tweaking the parameters in articulate.ly to match
> the style of music.  (To get optimal results, these will likely have
> to vary for each different virtual instrument.)

That's a very good idea! So far I've been applying \articulate to the
entire score. It would probably work better to apply it individually to
each staff with parameters customized accordingly, or perhaps even to
individual passages to get a finer-grained control over the precise
parameters to use.


> If you do all that, you can certainly get tolerable representations of
> scores.

True! Thanks for the ideas!


[...]
> The several things I noticed when using it were:
> 
> I had to add a "fullValue" articulation definition since it expects
> tenuto to be defined as full value, which is used as the definition
> for how long to hold tied notes. I found this straightforward to
> change, so now I can set tenuto notes to be less than full value,
> while still having tied notes at full value.
> 
> It treats tied notes as two notes.  So, if you have something like:
> d4-.  d-. d-. r | r8 d4-. d8-. ~ d d4-. r8, and if your staccato
> setting is 50%, then the quarter notes will all sound at 50% duration,
> but the 8th tied to 8th will sound 100% for the first note because it
> is tied, and then whatever percentage that an unmarked note would
> hold.  If that unmarked note setting were 80%, then this tied note
> would sound at 90% of its combined value.

Hmm, I didn't realize that. I'll have to be more careful with tied notes
from now on!


> The main thing that a more sophisticated script would support is to
> add trigger notes (notes below the playable range of the instrument)
> which are used to indicate articulations in virtual instruments.  This
> would require turning notes into chords, or adding notes to chords,
> whenever the articulation changes.  The mapping of particular notes to
> particular articulations would need to be configurable for each staff
> (or voice?) since there is no standard.
[...]

Another sophisticated feature would be to implement an interface to the
MIDI expression control so that you can do things like brass \pp\<\ff
crescendo chords. Again, having a way of specifying interpretations
would allow you to write something like:

{
  \interpret { 1\pp\<\ff }
  {
\midiExpressionControl {
... % specify the value range(s) to use for the control
}
  }
}

without having to use workarounds like having two alternative passages,
one for printing and one for rendering MIDI.


T

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Re: ugly default output

[H. S. Teoh]

On Sat, Feb 28, 2015 at 07:47:58PM +0100, Martin Tarenskeen wrote:
> 
> Hi,
> 
> I am typesetting a simple Beethoven 4-mains. I am in the very first
> stage of entering the notes - without additional tweaks to optimize
> the output.
> 
> Having entered one line of music it occurred to me that the spacing
> looks quite sub-optimal. Not to say plain ugly.
> 
> Just to illustrate that LilyPond is great (I have produced many really
> good looking scores using only minimal tweaking) but there isstill
> enough room for improvement: see the attached pdf example.
> 
> The example was produced using LilyPond 2.19.15
[...]

In my experience, lilypond tends to produce better output for longer
pieces -- presumably because there's more room for adjustments to
optimize the layout.  Therefore I wouldn't judge just by the first few
bars alone. Try inputting at least a few more lines, or maybe even a
page, and you should be able to get better results.

Also, lilypond by default tries very hard to make all systems fit
exactly to the page width, including the very last line of the music. As
a result, you might find that adding a bar or two to the end can
sometimes completely change the layout. Or sometimes, just because of
the total number of bars in the entire piece, it gets stuck in a
sub-optimal layout. One way to work around this is to use:

\paper {
ragged-last = ##t
}

This will tell lilypond to stop being so obsessive about fitting the
last line of music to the page width, so that it has more room to give
the earlier bars a nicer layout.


T

-- 
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Re: ugly default output

[Kevin Barry]

On Sat, Feb 28, 2015 at 6:47 PM, Martin Tarenskeen 
wrote:

> Having entered one line of music it occurred to me that the spacing looks
> quite sub-optimal. Not to say plain ugly.


Just as a test, I typeset the music myself again. With 2.18.2 LilyPond
split it onto two lines (which looks good if a little generously spaced).
With the latest development version (i.e. 2.19.16 if/when it arrrives) I
got exactly the same result as you. The development version has had some
improvements to the layout engine that produce tighter output. In this case
it presumably decided that the ugliness of bar 4 in your example was
preferable to spacing it out to completely fill two lines.

Despite the ugliness the 2.19 version may be easier to read/play than the
2.18, but it's hard to say. Either way I think, as someone else suggested
above, that you have found a marginal case where there are just enough bars
that one system is too little and two systems is not enough. If you think
it is a serious enough issue you could maybe consider posting it to the bug
list where it would receive more serious discussion (especially since the
changes that created it are not in the stable version of LilyPond yet).

Attaching the 2.18.2 version in case you're interested.


beethoven-4main.pdf
Description: Adobe PDF document
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Re: 2 questions re this file

[Peter Teeson]

On 2015-02-28, at 1:47 PM, Cynthia Karl  wrote:
>> On Feb 28, 2015, at 11:50 AM,Peter Teeson  wrote:
>> 
>> 1. How can I break the composer text so it appears like this on the score:
>>  Music: Thomas 'Fats' Waller 
>>   & Harry Brooks
> 
> composer = \markup { \concat { "Music: "  
>   \column { "Thomas 'Fats' Waller" \vspace #-.4 " 
> & Harry Brooks" } } }
Perfect…. Thanks.

>> 2. How can I make the last word of VerseTwo appear in the 2nd repeat (not in 
>> the 1st as happens now)
> You have two choices (I think the 2nd one looks better):
>   * make the last line of VerseOne read:  you __ you __
Brilliant!  I agree.

Peter (newbie)
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Re: ugly default output

[Urs Liska]

Am 28.02.2015 um 20:39 schrieb Kevin Barry:


On Sat, Feb 28, 2015 at 6:47 PM, Martin Tarenskeen
mailto:m.tarensk...@zonnet.nl>> wrote:

Having entered one line of music it occurred to me that the spacing
looks quite sub-optimal. Not to say plain ugly.


Just as a test, I typeset the music myself again. With 2.18.2 LilyPond
split it onto two lines (which looks good if a little generously
spaced). With the latest development version (i.e. 2.19.16 if/when it
arrrives) I got exactly the same result as you. The development version
has had some improvements to the layout engine that produce tighter
output. In this case it presumably decided that the ugliness of bar 4 in
your example was preferable to spacing it out to completely fill two lines.

Despite the ugliness the 2.19 version may be easier to read/play than
the 2.18, but it's hard to say. Either way I think, as someone else
suggested above, that you have found a marginal case where there are
just enough bars that one system is too little and two systems is not
enough. If you think it is a serious enough issue you could maybe
consider posting it to the bug list where it would receive more serious
discussion (especially since the changes that created it are not in the
stable version of LilyPond yet).

Attaching the 2.18.2 version in case you're interested.



Thank you for posting the alternative version, Kevin.

I think as they are right now these measures should be laid out on one 
and a half systems. Neither version is optimal, but I'd also say this is 
mostly due to the fact that the music isn't really suitable for the page 
format. So LilyPond failed at making an impossible choice.

This issue will go away when you add more music.

A very similar and annoying issue is when it isn't clear whether the 
music should fill one or two, or two or three pages. It is usually not 
an issue when LilyPond has to decide between 22 and 23 pages.


If I were you and for some reason would have to engrave exactly this 
music, I'd start with reducing the global staff size. But as said I 
think it will go away on its own.


Which isn't to say that LilyPond couldn't be improved ;-)

Urs




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I question about this file…..

[Peter Teeson]

My lead sheet is coming along fine thanks to your help.
But I have this question:

1. How can I make the lyrics to the bridge start after the 2nd repeat?
Right now they appear as a 3rd stanza.

TIA

Peter



Ain't Misbehavin v3.pdf
Description: Adobe PDF document


--- LilyPond file 
\version "2.19.15"
\header {
  title = "Ain't Misbehavin'"
  poet = "Words: Andy Razal "

 composer = \markup { \concat { "Music: "  
\column { "Thomas 'Fats' Waller" \vspace #-.4" 
& Harry Brooks" } } }

  meter = "Slowly"
  tagline = \markup {
\column {
  "LilyPond file by Peter Teeson, Toronto 2015/02/25"
}
  }
}

\include "english.ly"  % English accidental names f = flat, s = sharp
#(set-global-staff-size 30)

melody = \relative c' {
\key ef \major
\time 2/2 
\clef treble
\repeat volta 2 { 
r8 ef f ef d' d4. | r8 f, g f c'2 |
r8 bf c bf ef ef4 d8 | f ef c  g~ g gf4 f8 |
r8 ef f ef d' d4. | r8 f, g f c' c4 bf8 |
}
\alternative {
{\break g1~ | g1 |}
{ g1~ | g2. r4 \bar ":|." \break }
 }
}

bridge = \relative c'' {
\repeat unfold 3 { r4  ef8 c ef c4 }
}

VerseOne = \lyricmode {
\override Lyrics.LyricHyphen.minimum-distance = 1
\set stanza = "#1. "
No one to talk with, all by my -- self,
no one to walk with, but I'm hap -- py on __ the shelf, 
Ain't Mis -- be -- hav -- in' I'm sav -- in' my love for 
you __ you __
}

VerseTwo = \lyricmode {
\override Lyrics.LyricHyphen.minimum-distance = 1
\set stanza = "#2. "
I know for cer -- tain the one I love, 
I'm thru with flir -- tin' it's just you I'm think -- in' of.
Ain't Mis -- be -- hav -- in' I'm sav -- in' my love for 
}

Bridge = \lyricmode {
\override Lyrics.LyricHyphen.minimum-distance = 1
Like Jack Horn -- er in the cor -- ner, don't go no -- where 
}
\score {
<<  
\new Voice = "one" { \melody \bridge }
\new Lyrics \lyricsto "one" { \VerseOne }
\new Lyrics \lyricsto "one" { \VerseTwo }
\new Lyrics \lyricsto "one" { \Bridge }
>>
\layout { }
\midi { }
}

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Re: I question about this file?..

[Cynthia Karl]

> On Feb 28, 2015, at 2:57 PM,Peter Teeson :
> 
> 
> My lead sheet is coming along fine thanks to your help.
> But I have this question:
> 
> 1. How can I make the lyrics to the bridge start after the 2nd repeat?
> Right now they appear as a 3rd stanza.

Bridge = \lyricmode {
\override Lyrics.LyricHyphen.minimum-distance = 1
\repeat unfold 34 { \skip 1}
Like Jack Horn -- er in the cor -- ner, don't go no -- where 
}

Regards,
Pat Karl

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Re: I question about this file…..

[Thomas Morley]

2015-02-28 21:56 GMT+01:00 Peter Teeson :
> My lead sheet is coming along fine thanks to your help.
> But I have this question:
>
> 1. How can I make the lyrics to the bridge start after the 2nd repeat?
> Right now they appear as a 3rd stanza.
>
> TIA
>
> Peter
>
>
>
>
> --- LilyPond file 
> \version "2.19.15"
> \header {
>   title = "Ain't Misbehavin'"
>   poet = "Words: Andy Razal "
>
>  composer = \markup { \concat { "Music: "
> \column { "Thomas 'Fats' Waller" \vspace 
> #-.4" & Harry Brooks" } } }
>
>   meter = "Slowly"
>   tagline = \markup {
> \column {
>   "LilyPond file by Peter Teeson, Toronto 2015/02/25"
> }
>   }
> }
>
> \include "english.ly"  % English accidental names f = flat, s = sharp
> #(set-global-staff-size 30)
>
> melody = \relative c' {
> \key ef \major
> \time 2/2
> \clef treble
> \repeat volta 2 {
> r8 ef f ef d' d4. | r8 f, g f c'2 |
> r8 bf c bf ef ef4 d8 | f ef c  g~ g gf4 f8 |
> r8 ef f ef d' d4. | r8 f, g f c' c4 bf8 |
> }
> \alternative {
> {\break g1~ | g1 |}
> { g1~ | g2. r4 \bar ":|." \break }
>  }
> }
>
> bridge = \relative c'' {
> \repeat unfold 3 { r4  ef8 c ef c4 }
> }
>
> VerseOne = \lyricmode {
> \override Lyrics.LyricHyphen.minimum-distance = 1
> \set stanza = "#1. "
> No one to talk with, all by my -- self,
> no one to walk with, but I'm hap -- py on __ the shelf,
> Ain't Mis -- be -- hav -- in' I'm sav -- in' my love for
> you __ you __
> }
>
> VerseTwo = \lyricmode {
> \override Lyrics.LyricHyphen.minimum-distance = 1
> \set stanza = "#2. "
> I know for cer -- tain the one I love,
> I'm thru with flir -- tin' it's just you I'm think -- in' of.
> Ain't Mis -- be -- hav -- in' I'm sav -- in' my love for
> }
>
> Bridge = \lyricmode {
> \override Lyrics.LyricHyphen.minimum-distance = 1
> Like Jack Horn -- er in the cor -- ner, don't go no -- where
> }


% Try:

\score {
<<
\new Voice = "one" { \melody \new Voice = "bridge" \bridge }
\new Lyrics \lyricsto "one" { \VerseOne }
\new Lyrics \lyricsto "one" { \VerseTwo }
\new Lyrics \lyricsto "bridge" { \Bridge }
>>
\layout { }
\midi { }
}


HTH,
  Harm

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Re: ugly default output

[Martin Tarenskeen]

On Sat, 28 Feb 2015, H. S. Teoh wrote:


 In my experience, lilypond tends to produce better output for longer
 pieces -- presumably because there's more room for adjustments to
 optimize the layout.  Therefore I wouldn't judge just by the first few
 bars alone.


I am well aware of that. I have no doubt it will look much better when the 
piece is complete. I just wanted to give a particular case of what can go wrong 
when typesetting such a smaller exerpt.


--

MT


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Re: ugly default output

[Urs Liska]

Am 01.03.2015 um 00:07 schrieb Martin Tarenskeen:


On Sat, 28 Feb 2015, H. S. Teoh wrote:


 In my experience, lilypond tends to produce better output for longer
 pieces -- presumably because there's more room for adjustments to
 optimize the layout.  Therefore I wouldn't judge just by the first few
 bars alone.


I am well aware of that. I have no doubt it will look much better when
the piece is complete. I just wanted to give a particular case of what
can go wrong when typesetting such a smaller exerpt.



Yes, but I'd repeat that this is less LilyPond's fault than a problem of 
having an amount of music that is inherently unsuitable to be typeset 
nicely on one system.



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www.openlilylib.org

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Re: ugly default output

[Steve Lacy]

On Sat, Feb 28, 2015 at 3:11 PM, Urs Liska  wrote:
>
> Yes, but I'd repeat that this is less LilyPond's fault than a problem of
> having an amount of music that is inherently unsuitable to be typeset
> nicely on one system.


I'll have to say that I find this perspective a bit short-sighted. (no pun
intended)

There's *lots* of "short" music that would benefit greatly from beautiful
typesetting.  For example, there are *many* collections of traditional
Irish and Americana music, where each song is but a handful of measures
long.   (See collections on itma.ie for example)

The vast majority of this type of music on the internet is currently stored
in ABC format, and poorly engraved into low-resolution images.  This music
would benefit greatly from Lilypond's enhanced functionality (easy key
changes, much better articulations, etc.)

Another use-case is sheet music used for and during music instruction.
Much of these beginner's songs are also only a few measures long, but can
often contain "extra verbose" articulations and lots of markup to help
students learn to read music, and to make it extremely clear how the piece
should be played.

Considering Lilypond for large-scale classical music engraving only is
missing a much larger part of the picture.

Steve



>
>
>
> --
> Urs Liska
> www.openlilylib.org
>
>
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Re: Lilypond--iPads--Git

[Colin Campbell]

On 2015-02-27 11:31 PM, Craig Dabelstein wrote:

Hi Lilyponders,

Does anyone have experience with trying to write lilypond files on 
their iPad and uploading them to Git?


I'm using the Textastic app on the iPad (because it recognises 
Lilypond syntax), combined with Textexpander for all my snippets. It 
syncs to Dropbox, but I can't work out how to commit the changes to my 
BitBucket account. Does anyone know if this is possible?





FWIW, I'm using github to synch between my Kubuntu desktop using 
Frescobaldi, and my Android tablet, using either Quoda or VScript as an 
editor. I use sgit as the frontend to git. If anyone knows of an Android 
app which either understands LilyPond or can be taught it, I'd be 
grateful. Quoda and VScript come close-ish in Tex mode, though.


Also, I use git as part of my regular workflow, even when I'm not 
planning to be away from my desktop: periodic saves locally, followed by 
a commit with informative message and frequent pushes give me a 
wonderful warm feeling of "it might be crap but at least I won't lose it".


Cheers,
Colin

--
I've learned that you shouldn't go through life with a catcher's mitt on both 
hands.
You need to be able to throw something back.
-Maya Angelou, poet (1928- )


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Re: ugly default output

[Kevin Barry]

On Sun, Mar 1, 2015 at 1:39 AM, Steve Lacy  wrote:

> I'll have to say that I find this perspective a bit short-sighted. (no pun
> intended)
>
> There's *lots* of "short" music that would benefit greatly from beautiful
> typesetting.
>

"Short" music, per se, isn't the problem. The issue is that sometimes
LilyPond has to decide between two evil choices and in this case the
excerpt was a little too long for one system and too short for two. The
ugly bar was caused by an extra note column in one of the four staves that
made note columns in the other three parts seem too wide (bar 4 of Martin's
example). It's a coincidence that requires an unusual combination that is
no more likely (I would say) to occur in the typesetting of Irish melodies
than in compositions with many staves. I have set a few Irish melodies in
LilyPond and they all looked great. I hope you weren't saying it does a bad
job!

Nobody was saying that there are classes of music that are typeset less
well by design or intent, just that sometimes typesetting decisions are
difficult (which is not LilyPond's or the music's fault), and that is the
case whether we are writing out by hand or using a computer.
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Customizing staff to display Bohlen-Pierce scale?

[txikitofandango]

Hi everyone,

I am new to Lilypond. I was drawn to it for its customizability. I want to
use it to print music in the Bohlen-Pierce scale. I will leave out the
details of the scale for now. What's pertinent here is that I want to set up
Lilypond to use the following scale:

A B C D E F G H J

Nine notes above A should be another A.

There are accidentals: A#, C#, F#, and H#. If this setup can support the
enharmonic accidentals B-flat, D-flat, G-flat, and J-flat, that would be
nice, but not absolutely required. Thus, the full chromatic version of the
scale is A A# B C C# D E F F# G H H# J (13 notes).

The scale should be displayed on a 6-line staff with a treble (G) clef on
the 2nd line. I have already gotten this part working. I would also like the
3rd staff line to be dashed. That would be awesome.

Eventually I'd like each chromatic note to output a different MIDI pitch,
although the particular mapping is not important as I can remap it in my
synthesizer.

I would appreciate any help!



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/Customizing-staff-to-display-Bohlen-Pierce-scale-tp172424.html
Sent from the User mailing list archive at Nabble.com.

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Re: I question about this file…..

[Peter Teeson]

On 2015-02-28, at 4:35 PM, Thomas Morley  wrote:
> % Try:
> 
> \score {
><<
>\new Voice = "one" { \melody \new Voice = "bridge" \bridge }
>\new Lyrics \lyricsto "one" { \VerseOne }
>\new Lyrics \lyricsto "one" { \VerseTwo }
>\new Lyrics \lyricsto "bridge" { \Bridge }
>>> 
>\layout { }
>\midi { }
> }

Elegant solution…. Thanks &

respect….

Peter


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Re: ugly default output

[Werner LEMBERG]

>> There's *lots* of "short" music that would benefit greatly from
>> beautiful typesetting.
> 
> "Short" music, per se, isn't the problem.

Well, it is in case it leads to very tight typesetting.  The
out-of-the-box settings of LilyPond aren't suited to that.

Have a look at code issues 2141 to 2145.

  https://code.google.com/p/lilypond/issues/detail?id=2141
  https://code.google.com/p/lilypond/issues/detail?id=2142
  https://code.google.com/p/lilypond/issues/detail?id=2143
  https://code.google.com/p/lilypond/issues/detail?id=2144
  https://code.google.com/p/lilypond/issues/detail?id=2145

Except issue 2141, which is partially solved, these are open
problems.

Note that it *is* possible to tighten horizontal spacing
with some not too complicated manual tweaks, cf.

  http://lilypondblog.org/2013/11/engraving-challenges-horizontal-spacing/


Werner

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