Re: stacking whole notes of different size

[Marc Hohl]

Am 31.08.2015 um 19:09 schrieb Stephen MacNeil:

\override NoteColumn.force-hshift = #.65 works but you would have to
create a new voice i believe.


Yup, creating a new Voice and applying force-hshift works, but the last
tie looks quite different than the other ones:

a2. fis4 | a1 |
  <<
 { \voiceTwo g1 | fis | e | d~ | 1~ | 1~ | 2  }
 \new Voice \with { fontSize = #-3 } {
  \override NoteColumn.force-hshift = #0.15
  \voiceOne b'1 | h! | cis | d~ | 1~ | 1~ | 2
 }
  >>

see attached picture.

Marc



Stephen



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Re: stacking whole notes of different size

[Marc Hohl]

Am 31.08.2015 um 18:50 schrieb Simon Albrecht:

Am 31.08.2015 um 18:22 schrieb Marc Hohl:

Am 31.08.2015 um 15:41 schrieb Simon Albrecht:

Hello Marc,

this is a known issue: see
.


Ok, so I managed to shift the upper note heads by using extra-offset:

[...]

One problem remains: the upper ties are drawn as if the notes weren't
shifted. How can I access the upper ties for reformatting? Is there a
way to apply the shift amount to all control points simultaneously?

You could try the \shiftII function from openlilylib – or, if you use
extra-offset anyway, apply that to the ties also.


But how can I apply extra-offset to the upper ties only? I see no 
straightforward way to do this ...







(I tried shifting the smaller notes by \tweak X-offset #-0.25 first,
but that does not seem to have any effect.)

Yes, because NoteColumn interferes.


I see.

Cheers,

Marc


Yours, Simon




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Re: Gallery of Interesting Music Notation

[Simon Albrecht]

Am 31.08.2015 um 21:33 schrieb Steve Lacy:

I found this fascinating:

http://homes.soic.indiana.edu/donbyrd/InterestingMusicNotation.html

I wonder if anyone here (or elsewhere) has tried to engrave some of 
these, even as musical fragments?  I'm sure it would be an eye-opening 
process. :)


Perhaps the second Chopin example (op. 15 no. 2, m. 8/9) is the most 
challenging one. I disagree with the analysis given by Mr. Bird, 
although I can’t even quite follow his reasoning why we should play some 
notes (and which?) right-to-left. I would interpret this as a kind of 
arpeggio (an interpretation also displayed in the Klindworth/Scharwenka 
and Scholtz editions – although I’d never go the route of eliminating 
the subtle difference Chopin made in not actually writing a normal 
arpeggio).
An interesting question is the synchronisation with the left hand: 
leaving aside these with arpeggio notation, all of the editions align 
the down-stemmed voice with the bass note on the upbeat; for the 
downbeat this is the case in the Kullak/Parsons, Bargiel and Cortot 
editions, whereas Mikuli and Joseffy align the topmost note with the 
bass. Interestingly, Kullak/Parsons distinctly have the second bass note 
in bar 9 not aligned with the third semiquaver of the highest voice 
either, but somewhat earlier. There it would be really interesting to 
look into the autograph or first editions – maybe I’ll check some 
critical editions (the above is only what could be found on IMSLP, and 
that’s not quite satisfactory, especially with the complex situation 
often seen with Chopin).


Find attached an essay at coding this, along with two ways of 
standardising this notation.
I’m not fully content yet – especially the beams should get a grace-like 
look, but I couldn’t figure out how to do that: one may easily reduce 
the thickness and move it down, but the gap between the beams seems to 
be hard-coded :-(.


Best regards,
Simon
\version "2.19.25"
\language "deutsch"
\paper { #(set-paper-size "a7") indent = 0 }
\header { tagline = ##f }

global =
#(define-music-function (mus) (ly:music?)
   #{
 \relative {
   \partial 8
   \time 2/4
   \key fis \major
   $mus
   %\bar "||"
 }
   #}
   )

\markup \column {
  \line { stripped-down example from }
  \line { Chopin: Nocturne op. 15 no. 2, m. 8/9 }
  \line { standardised notation A }
}
\global
<<
  {
\grace { ais16 cis fis } ais16. h32
\grace { h,16 eis } ais16 gis eis cis
  }
  \\
  {
\mergeDifferentlyDottedOn
\grace { ais8.~ } 8[
\grace { h8~ } 16]
  }
>>

\markup { standardised notation B }
\score {
  \global {
<<
  \set Staff.connectArpeggios = ##t
  {
ais'16.\arpeggio h32
ais16\arpeggio gis eis cis
  }
  \\
  {
8\arpeggio [
16\arpeggio ]
  }
>>
  }
  \layout {
\context {
  \Staff
  \consists "Span_arpeggio_engraver"
}
  }
}

\markup { approach to original notation }
\global <<
  {
ais16*1/6 -\offset positions #'(-0.2 . -0.2) [
\set fontSize = -3 cis fis] \unset fontSize ais16.*3/4 h32*3/4
h,16*1/4[ \tweak font-size -3 eis] ais16*7/8 gis eis cis
  }
  \\
  {
ais=8[
h16*4/5]
  }
>>

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Re: slurs and articulation

[Martin Tarenskeen]

On Mon, 31 Aug 2015, tisimst wrote:


\override Script.avoid-slur = #'inside

- Abraham


Thanks! That's what I was looking for.

MT

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Re: slurs and articulation

[tisimst]

\override Script.avoid-slur = #'inside

- Abraham

On 8/31/2015 4:14 PM, Martin Tarenskeen-2 [via Lilypond] wrote:
>
> Ok, the issue is now reported in the bug-lilypond list. I originally
> bumped into the issue while trying to engrave "Pavane de la Belle au bois
> dormant" from Ravel's La Mere de l'Oye. I have attached a scanned snippet
> from the score. Is there a way I can reproduce this, and avoid the bug
> that I reported?
>
> MT
>
>
> On Mon, 31 Aug 2015, Phil Holmes wrote:
>
> >> 
> >>
> >> \version "2.19.25"
> >>
> >> \relative {
> >>   d''-.( d-. d-. d-.)
> >>   d-_( d-_ d-_ d-_)
> >>   d--( d-- d-- d--)
> >>   d-^( d-^ d-^ d-^)
> >>   d-+( d-+ d-+ d-+)
> >>   d-!( d-! d-! d-!)
> >>   d->( d-> d-> d->)
> >>   \break
> >>   \override Slur.outside-staff-priority = #500
> >>   d-.( d-. d-. d-.)
> >>   d-_( d-_ d-_ d-_)
> >>   d--( d-- d-- d--)
> >>   d-^( d-^ d-^ d-^)
> >>   d-+( d-+ d-+ d-+)
> >>   d-!( d-! d-! d-!)
> >>   d->( d-> d-> d->)
> >> }
> >>
> >> 
> >>
> >> Why are the articulations in bars 2, 7, 9, 14 treated differently? 
> It seems
> >> they are aligned with the slurs instead of the notes. Should I 
> forward this
> >> to bug-lilypond?
> >
> > I would say so.  you might like to add this to the bottom of your 
> example:
> >
> > \break
> > \override Script.outside-staff-priority = #1000
> > d-.( d-. d-. d-.)
> > d-_( d-_ d-_ d-_)
> > d--( d-- d-- d--)
> > d-^( d-^ d-^ d-^)
> > d-+( d-+ d-+ d-+)
> > d-!( d-! d-! d-!)
> > d->( d-> d-> d->)
> >
> >
> >
> > --
> > Phil Holmes
> >
> ___
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> *ravel-snippet.png* (31K) Download Attachment 
> 
>
>
> 
> If you reply to this email, your message will be added to the 
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> http://lilypond.1069038.n5.nabble.com/slurs-and-articulation-tp180472p180519.html
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Re: Gallery of Interesting Music Notation

[tisimst]

On 8/31/2015 1:33 PM, Steve Lacy [via Lilypond] wrote:
> I found this fascinating:
>
> http://homes.soic.indiana.edu/donbyrd/InterestingMusicNotation.html
>
> I wonder if anyone here (or elsewhere) has tried to engrave some of 
> these, even as musical fragments?  I'm sure it would be an eye-opening 
> process. :)

Here's Schumann's quadruple-dotted passage (arguably one of the easiest 
ones there):



When engraved with 2.18.2, it had a problem with the third and fourth 
measures, compacting the horizontal space of very last notes between 
staves so they ended up lining up when they are not to be played at the 
same musical moment. Any of the latest unstable versions worked without 
a hitch. Only a few manual direction overrides were necessary on a few 
beams/slurs to recreate the original. I couldn't resist using the Haydn 
stylesheet :-)

The triple-sharp snippet should be possible by extending the note-names 
to include them (by default, the lists only extends to double-flats/sharps).

The floating clef snippet can be created by following the instructions 
in this snippet in the LSR: http://lsr.di.unimi.it/LSR/Item?id=326

The hidden triplet markings is a piece of cake by using \omit 
TupletNumber right before the desired starting point.

- Abraham


cegbeffc.png (102K) 





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Re: slurs and articulation

[Martin Tarenskeen]

On Tue, 1 Sep 2015, Martin Tarenskeen wrote:


from Ravel's La Mere de l'Oye.


Ma Mère l'Oye

:-)
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Re: slurs and articulation

[Martin Tarenskeen]

Ok, the issue is now reported in the bug-lilypond list. I originally 
bumped into the issue while trying to engrave "Pavane de la Belle au bois 
dormant" from Ravel's La Mere de l'Oye. I have attached a scanned snippet 
from the score. Is there a way I can reproduce this, and avoid the bug 
that I reported?


MT


On Mon, 31 Aug 2015, Phil Holmes wrote:




\version "2.19.25"

\relative {
  d''-.( d-. d-. d-.)
  d-_( d-_ d-_ d-_)
  d--( d-- d-- d--)
  d-^( d-^ d-^ d-^)
  d-+( d-+ d-+ d-+)
  d-!( d-! d-! d-!)
  d->( d-> d-> d->)
  \break
  \override Slur.outside-staff-priority = #500
  d-.( d-. d-. d-.)
  d-_( d-_ d-_ d-_)
  d--( d-- d-- d--)
  d-^( d-^ d-^ d-^)
  d-+( d-+ d-+ d-+)
  d-!( d-! d-! d-!)
  d->( d-> d-> d->)
}



Why are the articulations in bars 2, 7, 9, 14 treated differently? It seems 
they are aligned with the slurs instead of the notes. Should I forward this 
to bug-lilypond?


I would say so.  you might like to add this to the bottom of your example:

\break
\override Script.outside-staff-priority = #1000
d-.( d-. d-. d-.)
d-_( d-_ d-_ d-_)
d--( d-- d-- d--)
d-^( d-^ d-^ d-^)
d-+( d-+ d-+ d-+)
d-!( d-! d-! d-!)
d->( d-> d-> d->)



--
Phil Holmes
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Re: Gallery of Interesting Music Notation

[Simon Albrecht]

Am 31.08.2015 um 21:33 schrieb Steve Lacy:

I found this fascinating:

http://homes.soic.indiana.edu/donbyrd/InterestingMusicNotation.html

I wonder if anyone here (or elsewhere) has tried to engrave some of 
these, even as musical fragments?


Well, in order to engrave Sorabji (with the slur with 10 turning points) 
one would /only/ need a 13th order Bézier curve… :-)

~ Simon
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Re: Gallery of Interesting Music Notation

[Werner LEMBERG]

> I found this fascinating:
> 
> http://homes.soic.indiana.edu/donbyrd/InterestingMusicNotation.html

Indeed!  Gorgeous stuff :-)


Werner

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Gallery of Interesting Music Notation

[Steve Lacy]

I found this fascinating:

http://homes.soic.indiana.edu/donbyrd/InterestingMusicNotation.html

I wonder if anyone here (or elsewhere) has tried to engrave some of these,
even as musical fragments?  I'm sure it would be an eye-opening process. :)

Steve
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Re: stacking whole notes of different size

[Stephen MacNeil]

\override NoteColumn.force-hshift = #.65 works but you would have to create
a new voice i believe.


Stephen
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Re: stacking whole notes of different size

[Simon Albrecht]

Am 31.08.2015 um 18:22 schrieb Marc Hohl:

Am 31.08.2015 um 15:41 schrieb Simon Albrecht:

Hello Marc,

this is a known issue: see
.


Ok, so I managed to shift the upper note heads by using extra-offset:

< g \tweak font-size #-3 \tweak Accidental.font-size #-3 \tweak 
extra-offset #'(-0.25 . 0) b > |
< fis \tweak font-size #-3 \tweak Accidental.font-size #-3 \tweak 
extra-offset #'(-0.25 . 0) h! > |

< e \tweak font-size #-3 \tweak extra-offset #'(-0.25 . 0) cis' > |
< d \tweak font-size #-3 \tweak extra-offset #'(-0.25 . 0) d' >~) 
| 1~ | 1~ | < d \tweak font-size #-3 d' >2


One problem remains: the upper ties are drawn as if the notes weren't 
shifted. How can I access the upper ties for reformatting? Is there a 
way to apply the shift amount to all control points simultaneously?
You could try the \shiftII function from openlilylib – or, if you use 
extra-offset anyway, apply that to the ties also.




(I tried shifting the smaller notes by \tweak X-offset #-0.25 first, 
but that does not seem to have any effect.)

Yes, because NoteColumn interferes.

Yours, Simon

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Re: Glossary index [was: how to get notes without tails?]

[Simon Albrecht]

Am 31.08.2015 um 17:40 schrieb BB:
I avoided using "Vorhalt". A "Vorhalt" is not a proper word in this 
context. A "Vorhalt" is in English a "suspension". That means that in 
a shift of harmony from one chord to another one or more notes of the 
first chord are played again (or held, prolonged) against the second 
chord, so I understand this as a suspension, a delay of the change to 
the new chord creating tension that will be resolved with the new 
harmony or note. So, "Vorhalt" has nothing in common with any grace 
note. A suspension must use the same note(s) present in the preceding 
chord. Otherwise it is an appoggiatura.


But indeed some people in Germany use "Vorschlag" and "Vorhalt" faulty 
as synonymously.

You saw that I didn’t do so?
And yes, there are both uses of the term ‚Vorhalt‘.

Yours, Simon


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Re: stacking whole notes of different size

[Marc Hohl]

Am 31.08.2015 um 15:41 schrieb Simon Albrecht:

Hello Marc,

this is a known issue: see
.


Ok, so I managed to shift the upper note heads by using extra-offset:

< g \tweak font-size #-3 \tweak Accidental.font-size #-3 \tweak 
extra-offset #'(-0.25 . 0) b > |
< fis \tweak font-size #-3 \tweak Accidental.font-size #-3 \tweak 
extra-offset #'(-0.25 . 0) h! > |

< e \tweak font-size #-3 \tweak extra-offset #'(-0.25 . 0) cis' > |
< d \tweak font-size #-3 \tweak extra-offset #'(-0.25 . 0) d' >~) | 
1~ | 1~ | < d \tweak font-size #-3 d' >2


One problem remains: the upper ties are drawn as if the notes weren't 
shifted. How can I access the upper ties for reformatting? Is there a 
way to apply the shift amount to all control points simultaneously?


(I tried shifting the smaller notes by \tweak X-offset #-0.25 first, but 
that does not seem to have any effect.)


TIA,

Marc



Yours, Simon

Am 31.08.2015 um 14:15 schrieb Marc Hohl:

Hello list,

I have songs for single voice and wanted to include an optional higher
voice for those singers that are able to each the notes and are capable
of doing a second voice.

Since the doubled part is just at the end of a song, I did not want to
fiddle with a separate voice and wrote chords instead like this:

< e \tweak font-size #-3 g >

Now I have a question about the alignment of the note heads. In the
cases where a visible stem is present, the note heads are aligned to the
stem, which is ok.

When I stack whole notes, the note heads are also right aligned, which
looks kind of strange, see the attached picture.

I did not find any suitable example in Gould, so I wanted to ask here:
is the graphical output ok, or should the smaller notes be centered over
the main voice? If yes, is there a automatic way to do this, or do I
have to \tweak the note head position manually by some trial-and-error?

Thanks in advance,

Marc


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Re: Glossary index [was: how to get notes without tails?]

[BB]

I avoided using "Vorhalt". A "Vorhalt" is not a proper word in this 
context. A "Vorhalt" is in English a "suspension". That means that in a 
shift of harmony from one chord to another one or more notes of the 
first chord are played again (or held, prolonged) against the second 
chord, so I understand this as a suspension, a delay of the change to 
the new chord creating tension that will be resolved with the new 
harmony or note. So, "Vorhalt" has nothing in common with any grace 
note. A suspension must use the same note(s) present in the preceding 
chord. Otherwise it is an appoggiatura.


But indeed some people in Germany use "Vorschlag" and "Vorhalt" faulty 
as synonymously.


Regards

On 31.08.2015 16:39, Simon Albrecht wrote:
For what I know, German terminology differentiates between ‚Vorschlag‘ 
(likely corresponding to acciaccatura) and ‚Vorhalt‘ (likely 
corresponding to appoggiatura). But there are no actual counterparts 
to ‘grace note’ or ‘slashed grace’. 



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Re: Glossary index [was: how to get notes without tails?]

[Simon Albrecht]

Am 31.08.2015 um 16:13 schrieb BB:
Just to annoy again, some additional remarks concerning entry 
acciaccatura.


I wonder that there is no English entry for acciaccatura?
That’s because in English as well as in German the Italian term is used 
for lack of a proper consistent terminology with similar authority.



Should be "grace note", grace standing for "gracefulness"?
Grace note is the category for all of these, be they long or short, 
slashed or not, slurred or not (before or on the beat…).



The German entry "Zusammenschlag" is a bit strange,

Indeed, I’ve never heard that either.

For what I know, German terminology differentiates between ‚Vorschlag‘ 
(likely corresponding to acciaccatura) and ‚Vorhalt‘ (likely 
corresponding to appoggiatura). But there are no actual counterparts to 
‘grace note’ or ‘slashed grace’.
And in general there are many different traditions and opinions on what 
the differences are and how each version is to be played.


Regards, Simon

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Re: Glossary index [was: how to get notes without tails?]

[BB]

Just to annoy again, some additional remarks concerning entry acciaccatura.

I wonder that there is no English entry for acciaccatura?
Should be "grace note", grace standing for "gracefulness"?
The German entry "Zusammenschlag" is a bit strange, I have not heard it 
used by musicians but do not think it is wrong. I would call it 
"Verzierung" oder "Schmucknote" (nothing to do with the american 
"schmuck", but with "adornment note") oder "ein verzierender Ton". And 
to make things worse, there is a grace note possible befor another note, 
in German "Vorschlag" (may be translated to something like "hit before") 
or "Vorschlagsnote" or after another note, "Nachschlag" (may be 
translated to something like "hit afterwards") or "Nachschlagsnote".


Not to forget that there exists  a appoggiatura ( a long grace note) as 
well, contrary to the acciaccatura (the short grace note).


I did some banjo country and some blues and there were such notes mostly 
called "grace notes", if they needed special mentioning.


May be other German readers may disagree - no problem, everybody has his 
own experience. .


Regards



On 30.08.2015 22:42, Trevor Daniels wrote:

@node acciaccatura
@section acciaccatura

ES: mordente de una nota,
I: acciaccatura,
F: acciaccatura, appoggiature brève,
D: Zusammenschlag,
NL: samenslag,
DK: ?,
S: ?,
FI: ?.



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Re: Getting Lily Pad to work on WIn 8.1 machine

[David Kastrup]

Kenneth Natco  writes:

> Solved my own problem, but just for info:  Found it necessary to edit the 
> Lilypond desktop shortcut to automatically "run as administer" in order to 
> get drag and drop funtionlity.  Dropping "test.ly" did absolutely nothing 
> before I changed this setting. No output files, no error message. Zilch.

Strange.  Let's hope that Windows 10 does not require "run as Block
Warden".  My gut feeling not impeded by any actual knowledge of Windows
would be that one would need administrator rights to _establish_
drap&drop functionality for certain file extensions, but not for
continuing use.

-- 
David Kastrup

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Re: stacking whole notes of different size

[Marc Hohl]

Hello Simon,

Am 31.08.2015 um 15:41 schrieb Simon Albrecht:

Hello Marc,

this is a known issue: see
.


Ah, thanks – I wasn't aware of that being in the issues list already.
So I have to tweak the note head position manually.

Cheers,

Marc



Yours, Simon

Am 31.08.2015 um 14:15 schrieb Marc Hohl:

Hello list,

I have songs for single voice and wanted to include an optional higher
voice for those singers that are able to each the notes and are capable
of doing a second voice.

Since the doubled part is just at the end of a song, I did not want to
fiddle with a separate voice and wrote chords instead like this:

< e \tweak font-size #-3 g >

Now I have a question about the alignment of the note heads. In the
cases where a visible stem is present, the note heads are aligned to the
stem, which is ok.

When I stack whole notes, the note heads are also right aligned, which
looks kind of strange, see the attached picture.

I did not find any suitable example in Gould, so I wanted to ask here:
is the graphical output ok, or should the smaller notes be centered over
the main voice? If yes, is there a automatic way to do this, or do I
have to \tweak the note head position manually by some trial-and-error?

Thanks in advance,

Marc


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Getting Lily Pad to work on WIn 8.1 machine

[Kenneth Natco]

Solved my own problem, but just for info:  Found it necessary to edit the 
Lilypond desktop shortcut to automatically "run as administer" in order to 
get drag and drop funtionlity.  Dropping "test.ly" did absolutely nothing 
before I changed this setting. No output files, no error message. Zilch.


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Re: slurs and articulation

[David Kastrup]

Simon Albrecht  writes:

> Am 31.08.2015 um 14:35 schrieb David Kastrup:
>> Martin Tarenskeen  writes:
>>
>>> On Mon, 31 Aug 2015, Phil Holmes wrote:
>\override Slur.outside-staff-priority = #500

 I would say so.  you might like to add this to the bottom of your example:

 \break
 \override Script.outside-staff-priority = #1000
>>> Yes, that looks strange and bad. But maybe not quite fair to use a
>>> second override without using \revert to undo the first
>>> override. That's asking for trouble.
>> Uh, no it isn't?  For one thing, only the topmost override is ever
>> consulted.  For another, \override by itself _always_ reverts one
>> preceding override (if present in the context at question) before
>> applying its own one.  If you want to have some override only
>> temporarily active, you need to use \temporary \override in order to
>> _not_ revert any previously existing override but have it reappear when
>> you \revert your own override.
>>
>>> When use a \revert before adding your example, the result looks a
>>> little less strange.
>> I should be surprised.
>
> Well, the two overrides are unrelated since they point to different
> grobs.

Oh.  Uhm.  In that case, of course both can have a combined effect and
reverting either one may make a difference.

-- 
David Kastrup

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Re: stacking whole notes of different size

[Simon Albrecht]

Hello Marc,

this is a known issue: see 
.


Yours, Simon

Am 31.08.2015 um 14:15 schrieb Marc Hohl:

Hello list,

I have songs for single voice and wanted to include an optional higher
voice for those singers that are able to each the notes and are capable
of doing a second voice.

Since the doubled part is just at the end of a song, I did not want to
fiddle with a separate voice and wrote chords instead like this:

< e \tweak font-size #-3 g >

Now I have a question about the alignment of the note heads. In the
cases where a visible stem is present, the note heads are aligned to the
stem, which is ok.

When I stack whole notes, the note heads are also right aligned, which 
looks kind of strange, see the attached picture.


I did not find any suitable example in Gould, so I wanted to ask here:
is the graphical output ok, or should the smaller notes be centered over
the main voice? If yes, is there a automatic way to do this, or do I
have to \tweak the note head position manually by some trial-and-error?

Thanks in advance,

Marc


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Re: centerPaperColumn

[David Nalesnik]

On Mon, Aug 31, 2015 at 7:58 AM, David Nalesnik 
wrote:

> Victor,
>
> On Sun, Aug 30, 2015 at 8:12 PM, Víctor  wrote:
>
>> Dear David and lilyponders:
>>
>> I'm glad to see that you are around here again, so now I hope it will
>> be not much of a trouble if ask you to take a look to the aforementioned
>> problem with the ties and centered notes. For those who don't know what I'm
>> talking about, David Nalesnik programed a very useful function that centers
>> notes when they occupy the whole measure. The problem seems to be that
>> tie's length is not recalculated after the note column has been moved; and
>> since my scheme-fu is very basic, I just can't fix this myself.
>>
>>
> I'm sorry, but I don't know how to fix this.
>
> The problem lies in the code for determining whether the PaperColumn to
> center or ignore is alone in the measure.  This requires access to other
> columns in the line, and these are located through the grob-array
> 'columns.  Unfortunately, this array is empty until line breaking has
> occurred.  By then, it's too late to do anything about the ties, as far as
> I know.  If there were a way to get the previous and adjoining columns
> before line breaking, that could possibly fix your problem.  I don't see a
> way in Scheme, but I'd welcome being wrong about that.
>
>
And you might think 'left-neighbor and 'right-neighbor (
http://lilypond.org/doc/v2.19/Documentation/internals/spaceable_002dgrob_002dinterface)
would be exactly what we want.  Works for an override of
PaperColumn.after-line-breaking but we come up empty for
'before-line-breaking:

\version "2.19.25"

{
  \override Score.PaperColumn.before-line-breaking =
  #(lambda (grob)
 (let ((left (ly:grob-object grob 'left-neighbor))
   (right (ly:grob-object grob 'right-neighbor)))
   (format #t "left neighbor: ~a right neighbor: ~a~%" left right)))

  c'1
  c'1
}

DN
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Re: centerPaperColumn

[David Nalesnik]

Victor,

On Sun, Aug 30, 2015 at 8:12 PM, Víctor  wrote:

> Dear David and lilyponders:
>
> I'm glad to see that you are around here again, so now I hope it will
> be not much of a trouble if ask you to take a look to the aforementioned
> problem with the ties and centered notes. For those who don't know what I'm
> talking about, David Nalesnik programed a very useful function that centers
> notes when they occupy the whole measure. The problem seems to be that
> tie's length is not recalculated after the note column has been moved; and
> since my scheme-fu is very basic, I just can't fix this myself.
>
>
I'm sorry, but I don't know how to fix this.

The problem lies in the code for determining whether the PaperColumn to
center or ignore is alone in the measure.  This requires access to other
columns in the line, and these are located through the grob-array
'columns.  Unfortunately, this array is empty until line breaking has
occurred.  By then, it's too late to do anything about the ties, as far as
I know.  If there were a way to get the previous and adjoining columns
before line breaking, that could possibly fix your problem.  I don't see a
way in Scheme, but I'd welcome being wrong about that.

David
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Re: slurs and articulation

[David Kastrup]

Martin Tarenskeen  writes:

> On Mon, 31 Aug 2015, Phil Holmes wrote:
>
>>> Try to compile the following example:
>>>
>>> 
>>>
>>> \version "2.19.25"
>>>
>>> \relative {
>>>   d''-.( d-. d-. d-.)
>>>   d-_( d-_ d-_ d-_)
>>>   d--( d-- d-- d--)
>>>   d-^( d-^ d-^ d-^)
>>>   d-+( d-+ d-+ d-+)
>>>   d-!( d-! d-! d-!)
>>>   d->( d-> d-> d->)
>>>   \break
>>>   \override Slur.outside-staff-priority = #500
>>>   d-.( d-. d-. d-.)
>>>   d-_( d-_ d-_ d-_)
>>>   d--( d-- d-- d--)
>>>   d-^( d-^ d-^ d-^)
>>>   d-+( d-+ d-+ d-+)
>>>   d-!( d-! d-! d-!)
>>>   d->( d-> d-> d->)
>>> }
>>>
>>> 

>> I would say so.  you might like to add this to the bottom of your example:
>>
>> \break
>> \override Script.outside-staff-priority = #1000
>
> Yes, that looks strange and bad. But maybe not quite fair to use a
> second override without using \revert to undo the first
> override. That's asking for trouble.

Uh, no it isn't?  For one thing, only the topmost override is ever
consulted.  For another, \override by itself _always_ reverts one
preceding override (if present in the context at question) before
applying its own one.  If you want to have some override only
temporarily active, you need to use \temporary \override in order to
_not_ revert any previously existing override but have it reappear when
you \revert your own override.

> When use a \revert before adding your example, the result looks a
> little less strange.

I should be surprised.

-- 
David Kastrup

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Re: Analysis brackets with text [was: how to get notes without tails?]

[David Nalesnik]

Hi Paul.

On Sun, Aug 30, 2015 at 10:10 PM, Paul Morris  wrote:

> Oh, one other thing I noticed.  There seems to be no way to have one
> bracket end at a note and another bracket start at that same note.
> ("warning: conflicting note group events”)  I tried spacer rests, but no
> luck.  It seems the start or end of a group cannot be a spacer rest.
> Anyway, I thought I'd mention this, FWIW.
>

Which of course makes them unsuitable for showing phrase elision.

Getting a TextSpanner to begin on a note and another to start on the same
note requires some sleight-of-hand (you can see this in Scheme in the
regression test scheme-text-spanner.ly).  I wonder if the to accommodate
nested brackets ruled "conflicting note group events" out?

David
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stacking whole notes of different size

[Marc Hohl]

Hello list,

I have songs for single voice and wanted to include an optional higher
voice for those singers that are able to each the notes and are capable
of doing a second voice.

Since the doubled part is just at the end of a song, I did not want to
fiddle with a separate voice and wrote chords instead like this:

< e \tweak font-size #-3 g >

Now I have a question about the alignment of the note heads. In the
cases where a visible stem is present, the note heads are aligned to the
stem, which is ok.

When I stack whole notes, the note heads are also right aligned, which 
looks kind of strange, see the attached picture.


I did not find any suitable example in Gould, so I wanted to ask here:
is the graphical output ok, or should the smaller notes be centered over
the main voice? If yes, is there a automatic way to do this, or do I
have to \tweak the note head position manually by some trial-and-error?

Thanks in advance,

Marc
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Profondo: note symbols in TupletBracket

[David Stephen Grant]

Hi all,
I'm using Abraham's Profondo font, but having some trouble with
TupletBrackets.

I would like to indicate the duration of some feathered beamed groups with
a TupletBracket showing the total duration. The following simplified code
works fine with the default font, but the symbol in the first bracket
doesn't print when I switch to Profondo. I also get the error: warning:
Found infinity or nan in output. Substituting 0.0

\version "2.19.25"
\include "profondo.ily"
{
  \override TupletBracket.padding = #1.5
  \override TupletBracket.bracket-visibility = ##t

  \once \override TupletNumber.text = \markup { \note #"4" #UP }
  \tuplet 5/8 { a'16 a' a' a' a' }


  \revert Staff.TupletNumber.font-name
  \once \override TupletNumber.text = \markup { \note #"4" #UP }
  \tuplet 5/8 { a'16 a' a' a' a' }

  \override Staff.TupletNumber.font-name = #"ProfondoTupletNumbers"
  \tuplet 5/8 { a'16 a' a' a' a' }
}

As most TupletBrackets should be using the Profondo tuplet number font I
thought about reverting to the default for these brackets, but ideally I
would prefer not to have to remember to turn Profondo back on afterwards as
in the above code.

Any ideas?

Best,
David
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Re: slurs and articulation

[Martin Tarenskeen]

On Mon, 31 Aug 2015, Phil Holmes wrote:


Hi,

Try to compile the following example:



\version "2.19.25"

\relative {
  d''-.( d-. d-. d-.)
  d-_( d-_ d-_ d-_)
  d--( d-- d-- d--)
  d-^( d-^ d-^ d-^)
  d-+( d-+ d-+ d-+)
  d-!( d-! d-! d-!)
  d->( d-> d-> d->)
  \break
  \override Slur.outside-staff-priority = #500
  d-.( d-. d-. d-.)
  d-_( d-_ d-_ d-_)
  d--( d-- d-- d--)
  d-^( d-^ d-^ d-^)
  d-+( d-+ d-+ d-+)
  d-!( d-! d-! d-!)
  d->( d-> d-> d->)
}



Why are the articulations in bars 2, 7, 9, 14 treated differently? It seems 
they are aligned with the slurs instead of the notes. Should I forward this 
to bug-lilypond?


I would say so.  you might like to add this to the bottom of your example:

\break
\override Script.outside-staff-priority = #1000
d-.( d-. d-. d-.)
d-_( d-_ d-_ d-_)
d--( d-- d-- d--)
d-^( d-^ d-^ d-^)
d-+( d-+ d-+ d-+)
d-!( d-! d-! d-!)
d->( d-> d-> d->)



Yes, that looks strange and bad. But maybe not quite fair to use a second 
override without using \revert to undo the first override. That's asking 
for trouble. When use a \revert before adding your example, the result 
looks a little less strange.


Anyway, I will post to bug-lilypond.

--

MT

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Re: slurs and articulation

[Trevor Daniels]

Martin Tarenskeen wrote Monday, August 31, 2015 10:50 AM

> Try to compile the following example:
> 
> 
> 
> \version "2.19.25"
> 
> \relative {
>   d''-.( d-. d-. d-.)
>   d-_( d-_ d-_ d-_)
>   d--( d-- d-- d--)
>   d-^( d-^ d-^ d-^)
>   d-+( d-+ d-+ d-+)
>   d-!( d-! d-! d-!)
>   d->( d-> d-> d->)
>   \break
>   \override Slur.outside-staff-priority = #500
>   d-.( d-. d-. d-.)
>   d-_( d-_ d-_ d-_)
>   d--( d-- d-- d--)
>   d-^( d-^ d-^ d-^)
>   d-+( d-+ d-+ d-+)
>   d-!( d-! d-! d-!)
>   d->( d-> d-> d->)
> }
> 
> 
> 
> Why are the articulations in bars 2, 7, 9, 14 treated differently? It 
> seems they are aligned with the slurs instead of the notes. Should I 
> forward this to bug-lilypond?

It does look somewhat inconsistent.

The properties of the various articulations (Script objects)
are defined in scm/script.scm.  Maybe one or two are sub-optimal.

Copying to bug list for further discussion.

Trevor
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slurs and articulation

[Martin Tarenskeen]

Hi,

Try to compile the following example:



\version "2.19.25"

\relative {
  d''-.( d-. d-. d-.)
  d-_( d-_ d-_ d-_)
  d--( d-- d-- d--)
  d-^( d-^ d-^ d-^)
  d-+( d-+ d-+ d-+)
  d-!( d-! d-! d-!)
  d->( d-> d-> d->)
  \break
  \override Slur.outside-staff-priority = #500
  d-.( d-. d-. d-.)
  d-_( d-_ d-_ d-_)
  d--( d-- d-- d--)
  d-^( d-^ d-^ d-^)
  d-+( d-+ d-+ d-+)
  d-!( d-! d-! d-!)
  d->( d-> d-> d->)
}



Why are the articulations in bars 2, 7, 9, 14 treated differently? It 
seems they are aligned with the slurs instead of the notes. Should I 
forward this to bug-lilypond?


--

MT

\version "2.19.25"

\relative {
  d''-.( d-. d-. d-.)
  d-_( d-_ d-_ d-_)
  d--( d-- d-- d--)
  d-^( d-^ d-^ d-^)
  d-+( d-+ d-+ d-+)
  d-!( d-! d-! d-!)
  d->( d-> d-> d->)
  \break
  \override Slur.outside-staff-priority = #500
  d-.( d-. d-. d-.)
  d-_( d-_ d-_ d-_)
  d--( d-- d-- d--)
  d-^( d-^ d-^ d-^)
  d-+( d-+ d-+ d-+)
  d-!( d-! d-! d-!)
  d->( d-> d-> d->)
}

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Re: New bug tracker?

[Phil Holmes]

There is a temporary one at

http://sourceforge.net/p/testlilyissues/issues/

We're hoping to get a permanently hosted tracker in the near future, so it 
would be premature to change the documentation to a temporary location, I 
believe.

--
Phil Holmes


  - Original Message - 
  From: Javier Ruiz-Alma 
  To: 'LilyPond User Group' 
  Sent: Monday, August 31, 2015 4:12 AM
  Subject: New bug tracker?


  Is there a new bug tracker for Lilypond?

  LP site still points to the now-read-only tracker:

  http://lilypond.org/bug-reports.html

   



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Re: New bug tracker?

[Trevor Daniels]

Javier Ruiz-Alma wrote Monday, August 31, 2015 4:12 AM

> Is there a new bug tracker for Lilypond?
> LP site still points to the now-read-only tracker:
> http://lilypond.org/bug-reports.html
 
We are currently in transition between bug trackers.  The intention is to 
migrate to a new bug tracker at Savannah, and this is being set up at present.

In the meantime we have an interim bug tracker for use by developers only, so 
we can keep track of changes.  I'd rather not direct users to this temporary 
arrangement to avoid confusion later.

Trevor
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