Re: Help requested from LilyPond users

[Marc Hohl]

Am 01.03.2015 um 19:06 schrieb Werner LEMBERG:



You may notice that, after almost 6 months, I've just uploaded a new
version of LilyPond.


Congrats to you and Masamichi-san for your hard work to make this
important release possible!


+1

Thanks a lot for the new release!

Marc


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Load .scm file from within define-void-function

[Urs Liska]

I have written a function that abstracts the loading of include files 
(by performing different path checks, offering a dot-notation interface 
and ensuring that files are included only once).
The actual loading is done through ly:parser-include-string using an 
"\include" statement.


Now I'd like to extend the function to be able to load either LilyPond 
or Scheme files. (It will be passed the name without extension, and 
depending on what file type exists on disk it would do the right thing.


However, AFAICS I can only use (use-modules) as a top-level expression 
and not within a Scheme function. OTOH I can't use the "\include" 
approach either because then the file would be interpreted as LilyPond - 
which of course fails.


So: Is it possible to load a Scheme module from within a 
(define-void-function) ?


Any hint or solution would be greatly appreciated.
Urs

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Re: connect arpeggio down

[Simon Albrecht]

Am 02.03.2015 um 06:16 schrieb Helge Kruse:

I have a problem with  connecting arpeggio. The arrow of
\arpeggioArrowDown or -Up vanishes when I connect the arpeggios of two
staves. You can reproduce it with the example below. Comment out the
connectArpeggios line and you see arrows.

Is this a known bug?

Regards Helge


\version "2.18.0"

upperHarpII = \relative c'' {

Or, as an override: \override PianoStaff.arpeggio.arpeggio-direction = #-1

   \arpeggioArrowDown  2\arpeggio r
}
lowerHarpII = \relative c' {
   \clef bass
   \arpeggioArrowDown  2\arpeggio r
}

\score {
   \new PianoStaff \with {
 connectArpeggios = ##t
   } <<
 \new Staff \upperHarpII
 \new Staff \lowerHarpII
   >>
}




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Re: Lyrics to second voice messes up following measure

[Phil Holmes]

- Original Message - 
From: "Phil Holmes" 
To: "Philipp Legrum" ; 


Sent: Sunday, February 22, 2015 4:40 PM
Subject: Re: Lyrics to second voice messes up following measure


- Original Message - 
From: "Philipp Legrum" 

To: 
Sent: Sunday, February 22, 2015 4:03 PM
Subject: Lyrics to second voice messes up following measure



Hello fellow LilyPonders,

yesterday I stumbled over a problem involving lyrics assigned to a (cue)
voice in a bivocal measure.
Assigning a syllable to the *last note* of the bivocal measure messes up
the subsequent monovocal measure (and all subsequent ones).

Since I am a lilypond beginner, it's likely I am missing the obvious
here. Lilyponds behaviour, however, seems illogical to me and cumbersome
to work around.

I boiled down the behaviour to an attached 10-line example:
Add another syllable to the lyrics (line 6) and watch the note in the
following measure disappear.

Can somebody help me out here?
Thanks a lot in advance,
Phil


I think this is a known (very old) bug: 
http://code.google.com/p/lilypond/issues/detail?id=127


I use a fairly horrible workaround:

\new CueVoice = "cue" {d'2 d'2*1/2 \hideNotes d'4 \unHideNotes}

The *1/2 halves the effective musical length of the note, allowing me to 
slip in a hidden note of half the length.  This has no lyric and so 
corrects the problem with the main voice.


--
Phil Holmes



You may like to note that this has been fixed in the latest development 
release, 2.19.16.


--
Phil Holmes 



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String Concatenation, and Use of Unicode characters

[Michael Hendry]

I’m an amateur jazz guitarist, and although I usually play from Realbook 
leadsheets I occasionally need to produce my own.

Typically, I want PDF output in three files, (Concert pitch, Bb and Eb), and I 
would like to modularise this as much as possible.

The .ly code which follows shows what I’m trying to do, but there are a couple 
of problems I would like help with.

1. I’d like to define a variable (\BaseFileName) which is the name of the song, 
and have this variable picked up for the title in the header, and when I’m 
creating the three PDF files with the relevant instrument names appended.

e.g. "Generic (guitar).pdf”, “Generic (trumpet).pdf” and “Generic (alto).pdf”.


2. The LilyJazzText font uses small capitals instead of lower case letters, so 
using “Eb” produces a capital E followed by a small capital B. On my Mac I know 
how to produce a flat sign, and LilyPond will use the flat sign from another 
font, but I’d like to be able to define a flat sign as a variable, and append 
it to the piece markup when creating the books for trumpet and alto.

Thanks in advance,

Michael Hendry




\version "2.18.0"

\include "LilyJAZZ.ily"
\include "AccordsJazzDefs.ly"

BaseFileName = "Generic"
FlatSign = ""

\header {
  title =   \markup {\fontsize #3   \override #'(font-name . 
"LilyJAZZText") "Generic" }
}

TheHead =  \relative c' {
  \set Score.markFormatter = #format-mark-box-letters
  \clef "treble" \key c \major \numericTimeSignature \time 4/4
 {c d e f}

}

TheChords =  \chords {
c1
}

% I’d like the code from here on to be generic, and produce concert, Bb and Eb 
versions from the variables defined above.

\book {

  \bookOutputName  "Generic (guitar)” % I WANT TO CONSTRUCT THIS STRING BY 
APPENDING “ (guitar)” to BaseFileName
  \new Score
  <<
\transpose c c {\TheChords}
\new Staff
\jazzOn \transpose c c {\TheHead}
  >>
  \header {piece = \markup {\fontsize #-1 \override #'(font-name . 
"LilyJazzText") "Guitar"}}
}

\book {
  \bookOutputName "Generic (tpt)” % I WANT TO CONSTRUCT THIS STRING BY 
APPENDING “ (tpt)” to BaseFileName
  \new Score
  <<
\transpose c d' {\TheChords}
\new Staff
\jazzOn \transpose c d' {\TheHead}
  >>
  \header {piece = \markup {\fontsize #-1 \override #'(font-name . 
"LilyJazzText") "Trumpet in Bb”}} % I WANT TO USE VARIABLE FOR FLAT SIGN HERE...
}


\book {
  \bookOutputName "Generic (alto)” % I WANT TO CONSTRUCT THIS STRING BY 
APPENDING “ (alto)” to BaseFileName
  \new Score
  <<
\transpose c a {\TheChords}
\new Staff \jazzOn \transpose c a {\TheHead}
  >>
  \header {piece = \markup {\fontsize #-1 \override #'(font-name . 
"LilyJazzText") "Alto Sax in Eb”}} % …AND AGAIN HERE
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Re: String Concatenation, and Use of Unicode characters

[Klaus Blum]

Hi Michael, 

for your second issue, this might be helpful:
\concat { "Alto Sax in E" \fontsize #-5 \raise #0.9 \musicglyph
#"accidentals.flat" }

Could you provide your source file and also the include files as a download
or attachment? I tried to copy-paste from your post, but some signs got
messed up...

Cheers, 
Klaus



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Re: String Concatenation, and Use of Unicode characters

[H. S. Teoh]

On Mon, Mar 02, 2015 at 04:40:27PM +, Michael Hendry wrote:
[...]
> 2. The LilyJazzText font uses small capitals instead of lower case
> letters, so using “Eb” produces a capital E followed by a small
> capital B. On my Mac I know how to produce a flat sign, and LilyPond
> will use the flat sign from another font, but I’d like to be able to
> define a flat sign as a variable, and append it to the piece markup
> when creating the books for trumpet and alto.
[...]

Couldn't you just use \flat to get the flat sign from the Feta font? Or
do you want to substitute that with a lowercase 'b' in some cases?


T

-- 
Кто везде - тот нигде.

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How to use \parallelMusic with \lyricmode ?

[Matej Kosik]

Hi!

My goal is to engrave a small piece that contains:
- chord
- melody
- lyrics

I would like to take advantage of the \parallelMusic macro, if that is possible.

The best results I was able to achieve were with this:
(although I bet there are more elegant ways)

\version "2.14.2"

\parallelMusic #'(harmonies melody text)
{
c1 |

c2 e4 g |

\lyricmode { Cee Eee Gee } |
}

\score {
  <<
\new ChordNames {
  \set chordChanges = ##t
  \harmonies
}
\new Voice = "one" { \relative c' \melody }
\new Lyrics \lyricsto "one" \text
  >>
  \layout { }
  \midi { }
}

When Lilypond processes the above input, the output is OK.
What bothers me that it prints this message:

03.ly:9:27: Bars in parallel music don't have the same length
\lyricmode
   { Cee Eee Gee } |

Question #1: Why?

Question #2: Is there a way how I could write lyrics without repeating 
\lyricmode in every tact?

Thanks you very MUCH for the help.

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Re: String Concatenation, and Use of Unicode characters

[Klaus Blum]

Hi again, 

for your first issue, try:

\bookOutputName  #(string-append BaseFileName " (alto)")


hope this helps, 
Klaus




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Re: How to use \parallelMusic with \lyricmode ?

[Klaus Blum]

Hi Matej, 

the message occurs because the syllables don't have a length like the notes
in the two upper voices. 
Using 
\lyricmode { Cee2 Eee4 Gee4 } |
will supress the message, even if it's not necessary because of the
"\lyricsto" assignment. 

I'm afraid there is no way to get rid of the "\lyricmode", because
parallelMusic needs a MUSIC expression and therefore cannot accept simple
strings.


Cheers, 
Klaus





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Re: How to use \parallelMusic with \lyricmode ?

[Matej Kosik]

On 02/03/15 18:23, Klaus Blum wrote:
> Hi Matej, 
> 
> the message occurs because the syllables don't have a length like the notes
> in the two upper voices. 

How so?

If this is the lyrics:

Cee Eee Gee

and if these are the notes of the voice to which lyrics is linked
(via \lyricsto):

c2 e4 g

doesn't that mean that:

"Cee" syllable has length 2
"Eee" syllable has length 4
"Gee" syllable has length 4

?

The output is rendered correctly so in lilypond seems to computes something 
that makes sense.
Why does it then print that warning?
What lengths of syllables did it compute and why?

> Using 
> \lyricmode { Cee2 Eee4 Gee4 } |
> will supress the message, even if it's not necessary because of the
> "\lyricsto" assignment. 
> 
> I'm afraid there is no way to get rid of the "\lyricmode", because
> parallelMusic needs a MUSIC expression and therefore cannot accept simple
> strings.
> 
> 
> Cheers, 
> Klaus
> 
> 
> 
> 
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/How-to-use-parallelMusic-with-lyricmode-tp172507p172509.html
> Sent from the User mailing list archive at Nabble.com.
> 
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Re: connect arpeggio down

[Helge]

Am Mon, 02 Mar 2015 12:16:17 +0100
schrieb Simon Albrecht :


> > upperHarpII = \relative c'' {
> Or, as an override: \override PianoStaff.arpeggio.arpeggio-direction
> = #-1

This results in an error:
warning: not a grob name, `arpeggio'

tested with 2.18.0 and 2.19.16

Regards
Helge

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Re: String Concatenation, and Use of Unicode characters

[Thomas Morley]

2015-03-02 17:40 GMT+01:00 Michael Hendry :
> I’m an amateur jazz guitarist, and although I usually play from Realbook 
> leadsheets I occasionally need to produce my own.
>
> Typically, I want PDF output in three files, (Concert pitch, Bb and Eb), and 
> I would like to modularise this as much as possible.
>
> The .ly code which follows shows what I’m trying to do, but there are a 
> couple of problems I would like help with.
>
> 1. I’d like to define a variable (\BaseFileName) which is the name of the 
> song, and have this variable picked up for the title in the header, and when 
> I’m creating the three PDF files with the relevant instrument names appended.
>
> e.g. "Generic (guitar).pdf”, “Generic (trumpet).pdf” and “Generic (alto).pdf”.
>
>
> 2. The LilyJazzText font uses small capitals instead of lower case letters, 
> so using “Eb” produces a capital E followed by a small capital B. On my Mac I 
> know how to produce a flat sign, and LilyPond will use the flat sign from 
> another font, but I’d like to be able to define a flat sign as a variable, 
> and append it to the piece markup when creating the books for trumpet and 
> alto.
>
> Thanks in advance,
>
> Michael Hendry
>
>
> 
>
> \version "2.18.0"
>
> \include "LilyJAZZ.ily"
> \include "AccordsJazzDefs.ly"
>
> BaseFileName = "Generic"
> FlatSign = ""
>
> \header {
>   title =   \markup {\fontsize #3   \override #'(font-name . 
> "LilyJAZZText") "Generic" }
> }
>
> TheHead =  \relative c' {
>   \set Score.markFormatter = #format-mark-box-letters
>   \clef "treble" \key c \major \numericTimeSignature \time 4/4
>  {c d e f}
>
> }
>
> TheChords =  \chords {
> c1
> }
>
> % I’d like the code from here on to be generic, and produce concert, Bb and 
> Eb versions from the variables defined above.
>
> \book {
>
>   \bookOutputName  "Generic (guitar)” % I WANT TO CONSTRUCT THIS STRING BY 
> APPENDING “ (guitar)” to BaseFileName
>   \new Score
>   <<
> \transpose c c {\TheChords}
> \new Staff
> \jazzOn \transpose c c {\TheHead}
>   >>
>   \header {piece = \markup {\fontsize #-1 \override #'(font-name . 
> "LilyJazzText") "Guitar"}}
> }
>
> \book {
>   \bookOutputName "Generic (tpt)” % I WANT TO CONSTRUCT THIS STRING BY 
> APPENDING “ (tpt)” to BaseFileName
>   \new Score
>   <<
> \transpose c d' {\TheChords}
> \new Staff
> \jazzOn \transpose c d' {\TheHead}
>   >>
>   \header {piece = \markup {\fontsize #-1 \override #'(font-name . 
> "LilyJazzText") "Trumpet in Bb”}} % I WANT TO USE VARIABLE FOR FLAT SIGN 
> HERE...
> }
>
>
> \book {
>   \bookOutputName "Generic (alto)” % I WANT TO CONSTRUCT THIS STRING BY 
> APPENDING “ (alto)” to BaseFileName
>   \new Score
>   <<
> \transpose c a {\TheChords}
> \new Staff \jazzOn \transpose c a {\TheHead}
>   >>
>   \header {piece = \markup {\fontsize #-1 \override #'(font-name . 
> "LilyJazzText") "Alto Sax in Eb”}} % …AND AGAIN HERE



How about the quite generic code below?
nb %%uncomment


\version "2.18.0"

%% uncomment
%
%\include "LilyJAZZ.ily"
%\include "AccordsJazzDefs.ly"
%
BaseFileName = "Generic"

FlatSign =
  \markup {
\hspace #0.1
\raise #0.4
\fontsize #-3
\flat
  }

\header {
  title =
\markup {
  \fontsize #3
  \override #'(font-name . "LilyJAZZText")
  \BaseFileName
}
}

TheHead =  \relative c' {
  \set Score.markFormatter = #format-mark-box-letters
  \clef "treble" \key c \major \numericTimeSignature \time 4/4
  c d e f

}

TheChords = \chords {
  c1
}

#(define (scores instruments pitches)
   (map
 (lambda (p n)
 #{
   \score {
  <<
\new ChordNames
\transpose c $p \TheChords
\new Staff
%% uncomment:
%\jazzOn
\transpose c $p \TheHead
  >>
  \header {
piece =
  \markup {
\fontsize #-1 \override #'(font-name . "LilyJazzText") $n
  }
  }
  %% for testing:
  %\layout { \override ChordNames.ChordName.color = #red }
   }
 #})
 (event-chord-pitches pitches)
 (map
   (lambda (i)
 (let ((instr (string-split i #\tab)))
 (if (string-null? (last instr))
 #{ \markup $(car instr) #}
 #{ \markup \concat { $(car instr) \FlatSign } #})))
   instruments)))

writebooks =
#(define-void-function (parser location instr-nms pitches) (list? ly:music?)
 (let* ((instrument-names
  (map
(lambda (i)
  (car (string-split i #\tab)))
instr-nms))
(file-names
  (map
(lambda (i)
  (let ((instr (string-split i #\Space)))
  (format #f "~a (~a)" BaseFileName (string-downcase (car instr)
instrument-names)))
 (for-each
   (lambda (score name)
 (let* ((my-new-book
  (ly:make-book
$defaul

Re: How to use \parallelMusic with \lyricmode ?

[Klaus Blum]

Matej Kosik wrote
> doesn't that mean that:
> 
>   "Cee" syllable has length 2
>   "Eee" syllable has length 4
>   "Gee" syllable has length 4
> ?

Hmmm... not really.
At the moment when \parallelMusic sorts the whole expression into three
variables, the syllables have no length. Thus, your variable "\text"
contains a sequence of syllables without length information. 
The "\lyricsto" command takes those syllables and puts them under the notes
in "\melody" - one by one. So the notes have the length information, the
syllables don't need them.

You can simply ignore the warnings, because this method works well. However,
the bar check does not work on syllables without length - you can not
guarantee that syllables will be used in the bar where you defined them. For
example,

% --
\parallelMusic #'(harmonies melody text)
{
  c1 |
  c2 e4 g |
  \lyricmode { Cee Eee Gee too many} |
  
  c1 |
  c2 e4 g |
  \lyricmode { Cee Eee Gee } |
}
% --

will produce six notes, therefore the first six syllables will be used.

I guess it will be easier to define the whole lyrics in one "\lyricmode"
statement.


Hope this helps, 
Klaus





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Re: connect arpeggio down

[Simon Albrecht]

Am 02.03.2015 um 21:42 schrieb Helge:

Am Mon, 02 Mar 2015 12:16:17 +0100
schrieb Simon Albrecht :



upperHarpII = \relative c'' {

Or, as an override: \override PianoStaff.arpeggio.arpeggio-direction
= #-1

This results in an error:
warning: not a grob name, `arpeggio'
So sorry, typo there: it needs to be capitalised: \override 
PianoStaff.Arpeggio &c.


Yours, Simon


tested with 2.18.0 and 2.19.16

Regards
Helge



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Re: connect arpeggio down

[Simon Albrecht]

And, by the way: quite inconsistently, the bug list can be addressed by 
bug-lilyp...@gnu.org, not lilypond-bug.


Am 02.03.2015 um 22:41 schrieb Simon Albrecht:

Am 02.03.2015 um 21:42 schrieb Helge:

Am Mon, 02 Mar 2015 12:16:17 +0100
schrieb Simon Albrecht :



upperHarpII = \relative c'' {

Or, as an override: \override PianoStaff.arpeggio.arpeggio-direction
= #-1

This results in an error:
warning: not a grob name, `arpeggio'
So sorry, typo there: it needs to be capitalised: \override 
PianoStaff.Arpeggio &c.


Yours, Simon


tested with 2.18.0 and 2.19.16

Regards
Helge



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Re: String Concatenation, and Use of Unicode characters

[Michael Hendry]

Begin forwarded message:From: Michael Hendry Subject: Re: String Concatenation, and Use of Unicode charactersDate: 2 March 2015 22:16:34 GMTTo: thomasmorle...@gmail.comBrilliant!My only reservation is that I’ll have to treat your code as a black box, as I’m not (likely ever to be) up to speed in Scheme!I use Frescobaldi as a front-end to LilyPond, and find the Music View that presents the PDF files very helpful in picking up errors as I type. For some reason I haven’t been able to work out, this doesn’t happen with your code.I’ve attached the include files I use, in case they’re of interest.Many thanks,Michael

Generic.ly
Description: Binary data


LilyJAZZ.ily
Description: Binary data


AccordsJazzDefs.ly
Description: Binary data
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Re: lyricWordEngraver enhancement proposal

[David Nalesnik]

Hi Simon,

On Sun, Mar 1, 2015 at 6:17 PM, Simon Albrecht 
wrote:

> Hello David, hello list,
>
> upon proofreading my latest larger lily project I had an idea for
> enhancement of your lyricWordEngraver: it would be very useful to have a
> \compressWord command, which is entered before a lyric syllable and then
> makes the following word be engraved as single string without hyphens.
> Well, I don’t quite have the technical knowledge to judge whether this is
> difficult or makes sense, and I hope that you also see a point in that I
> give ideas that I have and others add their technical knowledge. However, I
> might imagine that this would involve: – creating a word-compress-event,
> which is entered by \compressWord, – having the lyricWordEngraver collect
> these events and – using them to assist its decision on whether to compress
> or not (an opposite \noCompress or whatever would be conceivable also).
> Sometimes it would be useful if the resulting command worked inside words
> too to just apply to the remaining syllables of the word (or even only
> those enclosed in {}? just brainstorming).
> I know that this is not a „sustainable” solution due to the shortcomings
> of the original approach (mainly because the note spacing remains just the
> same) but nevertheless, if I am right with my conjecture that this is not
> really involving, I think it would be worth it. Feel free to say that you
> don’t have time or a good mind now :-)
>
>
I'd have to look at this more, but I have some initial thoughts.  It would
be fairly easy to force a compression or a non-compression at the level of
a complete LyricWord through an override of a property attached to
LyricWord like "force-compression".  However, treatment of partial words
would need to rely on a property attached to LyricSyllable instead of
LyricWord.

--David
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Re: lyricWordEngraver enhancement proposal

[Simon Albrecht]

Am 02.03.2015 um 23:59 schrieb David Nalesnik:

Hi Simon,

On Sun, Mar 1, 2015 at 6:17 PM, Simon Albrecht > wrote:


Hello David, hello list,

upon proofreading my latest larger lily project I had an idea for
enhancement of your lyricWordEngraver: it would be very useful to
have a \compressWord command, which is entered before a lyric
syllable and then makes the following word be engraved as single
string without hyphens. Well, I don’t quite have the technical
knowledge to judge whether this is difficult or makes sense, and I
hope that you also see a point in that I give ideas that I have
and others add their technical knowledge. However, I might imagine
that this would involve: – creating a word-compress-event, which
is entered by \compressWord, – having the lyricWordEngraver
collect these events and – using them to assist its decision on
whether to compress or not (an opposite \noCompress or whatever
would be conceivable also). Sometimes it would be useful if the
resulting command worked inside words too to just apply to the
remaining syllables of the word (or even only those enclosed in
{}? just brainstorming).
I know that this is not a „sustainable” solution due to the
shortcomings of the original approach (mainly because the note
spacing remains just the same) but nevertheless, if I am right
with my conjecture that this is not really involving, I think it
would be worth it. Feel free to say that you don’t have time or a
good mind now :-)


I'd have to look at this more, but I have some initial thoughts.  It 
would be fairly easy to force a compression or a non-compression at 
the level of a complete LyricWord through an override of a property 
attached to LyricWord like "force-compression".  However, treatment of 
partial words would need to rely on a property attached to 
LyricSyllable instead of LyricWord.
Perhaps it’s easier then to have one property of LyricSyllable (actually 
the grob is LyricText, isn’t it?) which may be overridden. It would be 
easy to wrap this into a music function to be applied like \compress { 
ly -- rics } or { se -- ren -- di -- \compress { pi -- tous } }.


-- Simon
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Subject: String Concatenation, and Use of Unicode characters [sic]

[Flaming Hakama by Elaine]

%{

> Date: Mon, 2 Mar 2015 16:40:27 +
> From: Michael Hendry 
> Subject: String Concatenation, and Use of Unicode characters
>
> Typically, I want PDF output in three files, (Concert pitch, Bb and Eb),
and I would like to modularise this as much as possible.

You will enjoy
#(define output-suffix "Instrument")


> 2. The LilyJazzText font uses small capitals instead of lower case
>  letters, so using ?Eb? produces a capital E followed by a small
>  capital B. On my Mac I know how to produce a flat sign, and LilyPond
>  will use the flat sign from another font, but I?d like to be able to
>  define a flat sign as a variable, and append it to the piece markup
>  when creating the books for trumpet and alto.

There is something called \flat.  I took out the references to LilyJAZZ
just to demonstrate, it should work regardless of font and I didn't have
the .ily file handy.



Forgive me for suggesting, but I suggest it improves mental health to think
of transpose in the form:

\transpose "to" "from" \musicExpression

So, Bb and Eb parts would be:

\transpose bes, c \trumpetPartConcert
\transpose es, c \altoPartConcert

instead of the cryptic:

\transpose c d' \trumpetPartConcert
\transpose c a' \altoPartConcert


Also, I took out references to \jazzOn since it didn't compile.


>
> Thanks in advance,
>
> Michael Hendry

Sure, I hope this helps.


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

%}




\version "2.18.0"

% \include "LilyJAZZ.ily"
% \include "AccordsJazzDefs.ly"

% output-suffix will use the .ly file's base name, so no need to define one
% BaseFileName = "Generic"

\header {
  title =   \markup { "Generic" }
}

TheHead =  \relative c' {
  \set Score.markFormatter = #format-mark-box-letters
  \clef "treble" \key c \major \numericTimeSignature \time 4/4
 c d e f
}

TheChords =  \chords { c1 }

#(define output-suffix "guitar-Concert")
\book {

  \new Score
  <<
\transpose c c {\TheChords}
\new Staff
\transpose c c {\TheHead}
  >>
  \header {piece = \markup { "Guitar" }}
}

#(define output-suffix "trumpet-Bb")
\book {
  \new Score
  <<
\transpose bes, c {\TheChords}
\new Staff
\transpose bes, c {\TheHead}
  >>
  \header {piece = \markup {"Trumpet in B" \flat }}
}

#(define output-suffix "alto-Eb")
\book {
  \new Score
  <<
\transpose es, c {\TheChords}
\new Staff \transpose es, c {\TheHead}
  >>
  \header {piece = \markup { "Alto Sax in E" \flat}}
}
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Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[Michael Hendry]

On 3 Mar 2015, at 05:58, Flaming Hakama by Elaine  wrote:%{> Date: Mon, 2 Mar 2015 16:40:27 +> From: Michael Hendry > Subject: String Concatenation, and Use of Unicode characters> > Typically, I want PDF output in three files, (Concert pitch, Bb and Eb), and I would like to modularise this as much as possible.You will enjoy#(define output-suffix "Instrument”)Certainly did! Thanks.> 2. The LilyJazzText font uses small capitals instead of lower case>  letters, so using ?Eb? produces a capital E followed by a small>  capital B. On my Mac I know how to produce a flat sign, and LilyPond>  will use the flat sign from another font, but I?d like to be able to>  define a flat sign as a variable, and append it to the piece markup>  when creating the books for trumpet and alto.There is something called \flat.  I took out the references to LilyJAZZ just to demonstrate, it should work regardless of font and I didn't have the .ily file handy.That certainly helped. I’m being fussy now, but there’s unnecessary white-space between the “E” and the “b”. Also, I want the “Alto Sax in Eb” in a smaller font, and the \flat is bigger than I want it.Forgive me for suggesting, but I suggest it improves mental health to think of transpose in the form:     \transpose "to" "from" \musicExpressionI used to think of the transposition in this way until I found a need to transpose the whole piece to a different key (to accommodate a singer’s range, for example), and I found the two ways of looking at transposition tied my brain in knots.Ideally, I’d like to define the whole-piece transposition at the top of the file, rather than editing the per-instrument transposition at the point of book production.So, Bb and Eb parts would be:    \transpose bes, c \trumpetPartConcert    \transpose es, c \altoPartConcertinstead of the cryptic:     \transpose c d' \trumpetPartConcert    \transpose c a' \altoPartConcertAlso, I took out references to \jazzOn since it didn't compile.> > Thanks in advance,> > Michael HendrySure, I hope this helps.Very much so.I’ve attached my modified version of your code, along with the necessary include files and an example of the output. I like the informal look of the Jazz fonts, but I can still be obsessional about font-size mismatches!Michael

Trial.ly
Description: Binary data


LilyJAZZ.ily
Description: Binary data


AccordsJazzDefs.ly
Description: Binary data


Trial-trumpet-Bb.pdf
Description: Adobe PDF document
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