Re: 7dim symbol in chord names

[David Raleigh Arnold]

On Fri, 16 Oct 2015 20:10:14 +0200
Yann  wrote:

> Hello all !
> 
> Is there a way to modify 7dim

C#7dim is not correct. The standard name is C#m7b5. Not elegant,
but unambiguous as concerns the minor 7th or dim. 7th interval.
It is called a leading tone seventh or a half-diminished 7th.

The symbol is a little "o" like the dim/dim7 but with a 
slash / through it.

Best to avoid all symbols if you can.

Regards, Rale

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Re: SVG fonts

[tisimst]

Andrew,

I have seen similar hit-and-miss results with text fonts when exporting to
SVG. I can't tell what's driving the inconsistent results.

Best,
Abraham

On Friday, November 20, 2015, Andrew Bernard [via Lilypond] <
ml-node+s1069038n183886...@n5.nabble.com> wrote:

> More investigation on fonts for SVG.
>
> The following errors out if the font-name property for DynamicText is set.
> The font-name specification for TextScript renders correctly.
>
> \version "2.19.31"
>
> {
>   \override DynamicText.font-name = "Noto Serif Bold Italic"
>   c''\p
>   \override TextScript.font-name = "Noto Serif Bold Italic"
>   c''^\markup { foo }
> }
>
> According to the NR DynamicText supports the font-interface, so one ought
> to e=be able to specify the font-name property.
>
> error:
>
> Layout output to
> `exp-svg-font.svg'.../usr/share/guile/1.8/ice-9/regex.scm:121:22: In
> procedure vector-ref in expression (vector-ref match matchnum):
> /usr/share/guile/1.8/ice-9/regex.scm:121:22: Wrong type argument in
> position 2: 1
>
> In relation to my question in prior post as to whether fontforge can be
> used to generate SVG fonts for lilypond, I see that the emmentaler SVG
> fonts are created with font forge, so I assume this means it is the right
> tool for the job?
>
> Andrew
>
>
>
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Re: Chord names

[timmcn]

> On Nov 27, 2015, at 4:48 AM, Kieren MacMillan  
> wrote:
> 
> Hi Tim,
> 
> On Nov 27, 2015, at 1:15 AM, tim...@bitstream.net wrote:
>> Given an Am(sus) chord on a chart I would wonder whether the composer wants 
>> a suspended chord (A D E) or a triad with a 4th- or much more likely 11th- 
>> added (A C E D).
> 
> In most of the scores I read (and write), that’s A(add4), and not a “sus” in 
> any form.

While I have seen that, I have never seen Am(sus) as a standard nomenclature.  
That’s why it would cause some confusion for me.  It might make sense to the 
composer in terms of his or her intent but for the musician it would probably 
be puzzling.
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Re: Fwd: Slash chords

[Peter Crighton]

2015-11-23 11:48 GMT+01:00 jmechmech :

> Perfect for a snippet :
>
>
> 
> \version "2.18.2"
>
> #(define (lower-extension pitch chbass)
>"Return lowered markup for pitch note name."
>#{
>  \markup \raise #-1.9 \halign #0.2
>  #(note-name->markup pitch chbass)
>#})
>
>
> \layout {
>   \context {
> \ChordNames
> slashChordSeparator = \markup {
>   % the \hspace commands simulate kerning
>   \hspace #-1.2
>   \lower #0.8 \rotate#-35 \scale #'(1 . 1.3) "|"
>   \hspace #-1.4
> }
> chordNoteNamer = #lower-extension
>   }
> }
>
> \score {
>   \new StaffGroup <<
> \chords {
>   f2.:m c4:7/e c2:maj7
>   f2:m/a f/g c:7/g c:7/e e/f
> }
> \new Staff { \key aes \major \time 3/4 c'4 aes'2 c'4 bes'2 r4 r r r r r
> r r r  }
>   >>
>   \layout { }
> }
> 
>

Could this snippet be adapted to having the bass note appearing directly
beneath the root note, separated by a horizontal line? So it would look
something like this (without the enormous spaces, of course):

C
—
E

I tried altering the values of the snippet, but couldn’t come up with
something useful.


--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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Re: Fwd: Slash chords

[Klaus Blum]

Hi Peter,

Peter Crighton-4 wrote
> Could this snippet be adapted to having the bass note appearing directly
> beneath the root note, separated by a horizontal line? 

unfortunately not (see below).
The sequence is (from left to right) root note, slash, bass note. Therefore
the horizontal placement depends on the width of the note names.
It would be necessary to modify the function that puts together those
ingredients, but that's far beyond my knowledge.

Cheers, 
Klaus


\version "2.18.2"

#(define (lower-extension pitch chbass)
   "Return lowered markup for pitch note name."
   #{
 \markup \raise #-3.0  % Try here...
 \halign #0.2
 #(note-name->markup pitch chbass)
   #})


\layout {
  \context {
\ChordNames
slashChordSeparator = \markup {
  % the \hspace commands simulate kerning
  \hspace #-3.2 % Try here...
  \lower #1.4 \rotate #90 \scale #'(1 . 1.0) % Try here...
  "|"
  \hspace #-1.4 % Try here...
}
chordNoteNamer = #lower-extension
  }
}

\score {
  \new StaffGroup <<
\chords {
  f2.:m c4:7/e c2:maj7
  f2:m/a f/g c:7/g c:7/e e/f
}
\new Staff { \key aes \major \time 3/4 c'4 aes'2 c'4 bes'2 r4 r r r r r
r r r  }
  >>
  \layout { }
}
 



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Re: How to get all Voice-Contexts?

[David Kastrup]

Thomas Morley  writes:

> 2015-11-27 23:45 GMT+01:00 David Kastrup :
>>>
>>> How to get all Voices looking down from Score?
>>
>> You could have an engraver listen for AnnounceNewContext and
>> RemoveContext events and keep tally of the Voice contexts among them in
>> a hash table or something like that.
>
> Btw, AnnounceNewContext and RemoveContex are not listed in the IR, I
> had to git grep them. Intended or over-sight?

They are sort-of internal communication.  Not events directly created
from music.  I'm not sure what kind of events are actually listed in the
IR.

-- 
David Kastrup

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Re: Rehearsal mark/tempo collision

[Malte Meyn]

Am 27.11.2015 um 21:10 schrieb Craig Dabelstein:

and get the tempo marks to be moved a little to the
right.


Just do that ;) (\once) \override MetronomeMark.X-offset = 3 or 
something similar.


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Re: articulate.ly and trills

[H. S. Teoh]

On Fri, Nov 27, 2015 at 05:32:37PM -0700, Gilberto Agostinho wrote:
> Hello all,
> 
> I would like to ask if anyone knows how to control the speed of the trills
> in the MIDI output when using articulate.ly. Currently, the articulate.ly
> simply converts a note with a trill into a bunch of 32nd notes, regardless
> of the tempo of the piece. This works very well for slow tempi (< 60 bpm),
> but sounds terrible when the tempo gets faster. E.g.:

I would like to know as well. Currently, I use a workaround by
separating the layout and midi scores, and use \tag to explicitly spell
out trills:

music = {
\tag #'layout { g1\startTrillSpan g1\stopTrillSpan }
\tag #'midi {
\tuplet 21/16 {
\repeat unfold 10 { g16 a }
g16
}
g1
}
}
\score {
\music
\layout {}
}
\score {
\music
\midi {}
}

This is rather ugly, and prone to errors (e.g. you accidentally write
the wrong notes in the \tag #'midi section so what is played is not
what's printed in the score). But it does let you insert things in the
"midi score" that improves the midi rendering, without polluting the
printed score.


T

-- 
Three out of two people have difficulties with fractions. -- Dirk Eddelbuettel

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Rehearsal mark/tempo collision

[Craig Dabelstein]

[image: Screen Shot 2015-11-28 at 6.06.47 am.png]
Hi Lilyponders,

Any idea how I can prevent the rehearsal marks from being pushed upwards by
the tempo indication, and get the tempo marks to be moved a little to the
right.

I have been experimenting with:

\override MetronomeMark.extra-spacing-width = #'(-2.0 . 0.5)

in my Layout/Context/Score block but it doesn't seem to be having any
effect.

All the best,

Craig

*Craig Dabelstein*
e:craig.dabelst...@gmail.com


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Re: How to get all Voice-Contexts?

[David Kastrup]

Thomas Morley  writes:

> Hi,
>
> for some engraver I need to look at all Voices, comparing them in some regard.
>
> If I put the engraver in every Voice, then every Voice is processed,
> yes, but I can't find a method to compare them.
> So I thought the way might be to put the engraver in Score, get the
> Voices and do nasty things ...
>
> Though, I can't find a method to select all Voices.
>
> Consider this tiny and boiled down example:
>
> %%%
> \version "2.19.32"
>
> get-Voices =
> \context Score \applyContext #(lambda (ctx) (display ctx))
>
> \score {
> \new Staff
> <<
>   \new Voice = "1" { \get-Voices c''1 }
>   \new Voice = "2" { e'1 }
> >>
> }
> 
>
> How to get all Voices looking down from Score?

You could have an engraver listen for AnnounceNewContext and
RemoveContext events and keep tally of the Voice contexts among them in
a hash table or something like that.

-- 
David Kastrup

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How to get all Voice-Contexts?

[Thomas Morley]

Hi,

for some engraver I need to look at all Voices, comparing them in some regard.

If I put the engraver in every Voice, then every Voice is processed,
yes, but I can't find a method to compare them.
So I thought the way might be to put the engraver in Score, get the
Voices and do nasty things ...

Though, I can't find a method to select all Voices.

Consider this tiny and boiled down example:

%%%
\version "2.19.32"

get-Voices =
\context Score \applyContext #(lambda (ctx) (display ctx))

\score {
\new Staff
<<
  \new Voice = "1" { \get-Voices c''1 }
  \new Voice = "2" { e'1 }
>>
}


How to get all Voices looking down from Score?


Thanks,
  Harm

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articulate.ly and trills

[Gilberto Agostinho]

Hello all,

I would like to ask if anyone knows how to control the speed of the trills
in the MIDI output when using articulate.ly. Currently, the articulate.ly
simply converts a note with a trill into a bunch of 32nd notes, regardless
of the tempo of the piece. This works very well for slow tempi (< 60 bpm),
but sounds terrible when the tempo gets faster. E.g.:

\version "2.19.28"
\include "articulate.ly"
\score {
  \articulate {
\tempo 4 = 48
c'4 d' e' f'
g'1\startTrillSpan
\tempo 4 = 88
c'4\stopTrillSpan d' e' f'
g'1\startTrillSpan
\tempo 4 = 160
c'4\stopTrillSpan d' e' f'
g'1\startTrillSpan
  }
  \midi {}
  \layout {}
}

which produces this:  trills.mid
  

Is there a way to manually set the division of those trills (e.g. 16th
notes, tuplets of 8th notes, etc.)?

Thanks a lot,
Gilberto



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Re: Fwd: Slash chords

[Klaus Blum]

Klaus Blum wrote
> The sequence is (from left to right) root note, slash, bass note. 
> [...]
> It would be necessary to modify the function that puts together those
> ingredients

I've tried to modify "chord-ignatzek-names.scm" where this function is
located (see attached). 
chord-ignatzek-names.scm
  

All "ingredients" are put together with make-line-markup. It should be
possible to replace this by make-column-markup. 


\version "2.18.2"


\layout {
  \context {
\ChordNames
slashChordSeparator = \markup {
  \rotate #90 \scale #'(1 . 1.0) % Try here...
  "|"
}
  }
}

\score {
  \new StaffGroup <<
\chords {
  f2.:m c4:7/e c2:maj7
  f2:m/a f/g c:7/g c:7/e e/f
}
\new Staff { \key aes \major \time 3/4 c'4 aes'2 c'4 bes'2 r4 r r r r r
r r r  }
  >>
  \layout { }
}
 

...will lead to this:
 

Apart from the vertical spacing that I cannot improve, I don't know if this
crazy idea will lead to anything useful...

It would be cool if there were different callbacks for different layouts
that you could choose, e.g. 
  \set slashChordLayout = ...

Cheers, 
Klaus




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Re: Rehearsal mark/tempo collision

[Jay Anderson]

There have been some discussions about this in the past (e.g.
https://lists.gnu.org/archive/html/lilypond-user/2013-11/msg00930.html,
https://lists.gnu.org/archive/html/lilypond-user/2013-12/msg00040.html). I
can't find a thread with a good resolution though.

In any case the main two simple options I'd suggest:
- Option 1: Manually move the tempo
\override Score.MetronomeMark.X-offset = #3
- Option 2: Don't align to `time-signature`. This will align to the note.
\override Score.MetronomeMark.break-align-symbols = #'()

-Jay

On Fri, Nov 27, 2015 at 1:10 PM, Craig Dabelstein <
craig.dabelst...@gmail.com> wrote:

> [image: Screen Shot 2015-11-28 at 6.06.47 am.png]
> Hi Lilyponders,
>
> Any idea how I can prevent the rehearsal marks from being pushed upwards
> by the tempo indication, and get the tempo marks to be moved a little to
> the right.
>
> I have been experimenting with:
>
> \override MetronomeMark.extra-spacing-width = #'(-2.0 . 0.5)
>
> in my Layout/Context/Score block but it doesn't seem to be having any
> effect.
>
> All the best,
>
> Craig
>
> *Craig Dabelstein*
> e:craig.dabelst...@gmail.com
> 
> 
>
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>
>
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Re: How to get all Voice-Contexts?

[Thomas Morley]

2015-11-27 23:45 GMT+01:00 David Kastrup :
> Thomas Morley  writes:
>
>> Hi,
>>
>> for some engraver I need to look at all Voices, comparing them in some 
>> regard.
>>
>> If I put the engraver in every Voice, then every Voice is processed,
>> yes, but I can't find a method to compare them.
>> So I thought the way might be to put the engraver in Score, get the
>> Voices and do nasty things ...
>>
>> Though, I can't find a method to select all Voices.
>>
>> Consider this tiny and boiled down example:
>>
>> %%%
>> \version "2.19.32"
>>
>> get-Voices =
>> \context Score \applyContext #(lambda (ctx) (display ctx))
>>
>> \score {
>> \new Staff
>> <<
>>   \new Voice = "1" { \get-Voices c''1 }
>>   \new Voice = "2" { e'1 }
>> >>
>> }
>> 
>>
>> How to get all Voices looking down from Score?
>
> You could have an engraver listen for AnnounceNewContext and
> RemoveContext events and keep tally of the Voice contexts among them in
> a hash table or something like that.
>
> --
> David Kastrup

As a first step, this leads to:

\version "2.19.32"

#(define (my-engraver ctx)
  (let ((voices '()))
 `(
   (listeners
;; TODO: don't forget `RemoveContext'
(AnnounceNewContext
  .
  ,(lambda (engraver event)
(let ((context (ly:event-property event 'context)))
 (if (eq? (ly:context-name context) 'Voice)
 (set! voices (cons context voices)))
 (write-me "voices " voices)
 )))

\score {
  \new Staff
  <<
\new Voice = "1" { c''1 }
\new Voice = "2" { e'1 }
  >>
  \layout {
\context {
  \Score
  \consists #my-engraver
}
  }
}


Promising. Thanks a lot!

Btw, AnnounceNewContext and RemoveContex are not listed in the IR, I
had to git grep them. Intended or over-sight?


Thanks,
  Harm

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transpose pitch by semitones

[Urs Liska]

Hi all,

I'm poking around in the reference but don't find a simpler solution.

I have a function that returns an integer that represents the semitones
over a reference (by default the middle c). From this I want to
construct a pitch so that e.g.

(pitch 2) would return the equivalent to (ly:make-pitch 0 1 0) and
(pitch 13) => (ly:make-pitch 1 0 1/2) or (ly:make-pitch 0 7 1/2)

I've implemented a lookup list like so

#(define (semitones->pitch semitone)
   (let ((index (modulo semitone 12))
 (octave (floor (/ semitone 12
 (list
  octave
  (list-ref
   '((0 0)   ; c
  (0 1/2) ; cis
  (1 0)   ; d
  (1 1/2) ; dis
  (2 0)   ; e
  (3 0)   ; f
  (3 1/2) ; fis %  \jiPitch 2 1
 
  (4 0)   ; g
  (4 1/2) ; gis
  (5 0)   ; a
  (5 1/2) ; ais
  (6 0))   ; b 
   index

but would like to find a solution that is more straightforward. Somehow
I feel LilyPond should have that function already built in.

Any suggestions?

TIA
Urs

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Re: Chord names

[Kieren MacMillan]

Hi Tim,

On Nov 27, 2015, at 1:15 AM, tim...@bitstream.net wrote:
> Given an Am(sus) chord on a chart I would wonder whether the composer wants a 
> suspended chord (A D E) or a triad with a 4th- or much more likely 11th- 
> added (A C E D).

In most of the scores I read (and write), that’s A(add4), and not a “sus” in 
any form.

Regards,
Kieren.



Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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