Re: Telemann's "Strich"

[Simon Albrecht]

On 20.12.2015 12:44, Robert Blackstone wrote:

Dear list,

I’m working on a bilingual edition of Telemann’s  Singe-, Spiel- und 
General-Baß-Übungen, a very nice little tutorial consisting almost 
entirely of songs with a figured bass line and a written-out realization.
In the bass lines Telemann sometimes adds short straight lines 
parallel with the note heads, a sort of straight slur, indicating that 
the right hand should not play chords except on he first on these 
“slurred” notes. See the attached Telemann's_Strich.png


I definitely agree with Richard’s interpretation that these are figured 
bass extenders. The quote in your first example makes it really obvious: 
„Der Strich bedeutet, dass die rechte Hand daselbst ruhe“ – ‘The line 
means that the right hand should rest there.’
For a reengraving it’s definitely better to have them outside the staff, 
together with the actual figures. One shouldn’t try sticking too closely 
to the appearance of 18th century writing/engraving.


Yours, Simon

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Re: pretty-print and localAlterations

[Thomas Morley]

2015-12-21 1:16 GMT+01:00 Simon Albrecht :
> Hello,
>
> if I compile the following code:
>
> 
> \version "2.19.32"
> #(use-modules (ice-9 pretty-print))
>
> printKeysig =
> \applyContext #(lambda (context)
>  (format #t "~a" (pretty-print (ly:context-property context
> 'localAlterations
> \relative {
>   es'4 \printKeysig e'
> }
> 
>
> I get a spurious # in the console output, on its own line.
> Of course, it’s not an actual problem, but I’d still be curious where it
> comes from.
>
> Yours, Simon


You used two nested displaying procedures
pretty-print prints formated to the console, but returns unspecified
(format #t ...) prints to console as well.

other examples:

guile> (display (display 1))
-> 1#

in ly-file:
#(format #t "\n\t~a" *unspecified*)
-> #

Don't nest them.

Cheers,
  Harm

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Re: saxophon multiphonic, how to

[Klaus Blum]

Hi Stefan, 

according to a saxophone tutor written by Jean-Marie Londeix, the three keys
for the left palm are called C1, C2 and C4: 

% --

\markup \line { 
  \center-column {
C1
" "
\scale #'(-1 . 1) \woodwind-diagram
#'saxophone
#'(
(cc . ())
(lh . (d))
(rh . ())
)
  }
  \hspace #4
  \center-column {
C2
" "
\scale #'(-1 . 1) \woodwind-diagram
#'saxophone
#'(
(cc . ())
(lh . (ees))
(rh . ())
)
  }
  \hspace #4
  \center-column {
C4
" "
\scale #'(-1 . 1) \woodwind-diagram
#'saxophone
#'(
(cc . ())
(lh . (f))
(rh . ())
)
  }
}

% --

As you might see, I've flipped the charts with \scale #'(-1 . 1), so they
show the fingerings from the player's perspective. That's what I learned in
my clarinet and saxophone lessons.

HTH, 
Klaus



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Re: Telemann's "Strich"

[Andrew Bernard]

Of course I just realised you don’t need the full generality of my arrow 
function. You can just use the draw-line function. It’s in the section ‘Graphic 
notation inside markup’.

Andrew




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Re: Telemann's "Strich"

[Simon Albrecht]

On 21.12.2015 01:23, Ralf Mattes wrote:
  
Am Montag, 21. Dezember 2015 01:10 CET, Simon Albrecht  schrieb:
  

I definitely agree with Richard’s interpretation that these are figured bass 
extenders. The quote in your first example makes it really obvious: „Der Strich 
bedeutet, dass die rechte Hand daselbst ruhe“ – ‘The line means that the right 
hand should rest there.’

Oh, that's a rather unfortunate translation - it might be interpreted as "rest" in the 
sense of "to stop", which is probably not what is meant.
Maybe "the line means that the right hand stays where it is".


You’re right, I’ve probably been to accurate there in sticking to the 
original. Of course it should mean holding the notes on (resting with 
the hand on the depressed keys) and not making a musical rest, or pause.


Thanks for the hint,
Simon

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Re: big (?) challenge: multi-segment / multi-angle OttavaBracket

[Kieren MacMillan]

Hi Harm,

> you don't provide any code ;)

Well, to be honest, I didn’t expect an actual [honest-to-goodness Lilypond 
code] fix: I thought the answer would either be “look at X snippet” or “can’t 
be done” or “this is issue Y”, or in the very best case scenario “one *could* 
create a ’kneed-spanner’ thingee, if one wanted to”…

I sometimes forget there are [amazing] people like you on this list, who might 
actually take it upon themselves to solve such a gargantuan problem as a first 
response.  =\

In the future, I’ll make it more explicit when I’m only looking [at first] for 
a quick “possible/impossible” answer.

> I really dislike inline-images.

Hmmm… I think that’s a problem with my mail application; I’ll look into it, and 
try to use only outline (?) attachments from now on.

> Below some code, which hopefully does what you want

HOLY MOLY! This is fabulous.
1. Yes, it appears (at least, from your snippet) to do exactly what I want; I 
will test it “in production", and report back ASAP.
2. Let me know (off-line, if desired) what a reasonable fee is for your work; 
I’ll definitely pay you something.

> Every layout-change will likely result in the need of readjusting…

That’s fine by me, at least in the short term: I can do all of the tweaking in 
the edition-engraver (post-layout).

> It would be far simpler if one could add an option to make-path-stencil to 
> draw dashed lines.
> But I found no way to do so. Thus I defined `make-dashed-line-stencil' and 
> `make-connected-dashed-line-stencil' first.
> With `kneed-line' I try to give you a little easier to use code at hand, but 
> I'm really not convinced.

Well, if anyone else finds this idea worth pursuing/sponsoring, perhaps we can 
crowd-source your code into an awesome patch!?

Thanks again!
I’ll report back soon.

Cheers,
Kieren.


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


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Re: big (?) challenge: multi-segment / multi-angle OttavaBracket

[Thomas Morley]

2015-12-20 23:50 GMT+01:00 Kieren MacMillan :

> HOLY MOLY! This is fabulous.

Glad you like it.

> 1. Yes, it appears (at least, from your snippet) to do exactly what I want; I 
> will test it “in production", and report back ASAP.

Though, I'm afraid you will surely notice the disadvantages soon.

> 2. Let me know (off-line, if desired) what a reasonable fee is for your work; 
> I’ll definitely pay you something.

This code isn't ready to be implemented into the source, maybe (and
its a big maybe) into LSR.
It's an extended variation of some code I made for a user in the
german forum some time ago and based on Mike Solomon's fix for
https://sourceforge.net/p/testlilyissues/issues/3230/
No need for any payment to me.

You may want to donate something to David K. who really needs it.
Without his fabulous work I would be far less effective helping on the
user-list. His work is not always directly noticeable/user-accessible,
but every time I look up how codings were done in past lily-versions I
see again how good LilyPond developed, most basic work was David's!

Speaking only for me, bounties doesn't attract me.
An interesting problem, good presented (sic) and I'm on it.
Well, if I've the time for it...

>
>> Every layout-change will likely result in the need of readjusting…
>
> That’s fine by me, at least in the short term: I can do all of the tweaking 
> in the edition-engraver (post-layout).

I didn't use the edition-engraver so far, can't say if it will work

>> It would be far simpler if one could add an option to make-path-stencil to 
>> draw dashed lines.
>> But I found no way to do so. Thus I defined `make-dashed-line-stencil' and 
>> `make-connected-dashed-line-stencil' first.
>> With `kneed-line' I try to give you a little easier to use code at hand, but 
>> I'm really not convinced.
>
> Well, if anyone else finds this idea worth pursuing/sponsoring, perhaps we 
> can crowd-source your code into an awesome patch!?

I'm not sure a patch will be possible, at least with _this_ approach.
But maybe with some other, lemme think about it ...

> Thanks again!
> I’ll report back soon.
>
> Cheers,
> Kieren.

Cheers,
  Harm

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Re: big (?) challenge: multi-segment / multi-angle OttavaBracket

[Kieren MacMillan]

Hi Harm,

> Though, I'm afraid you will surely notice the disadvantages soon.

Well, maybe I already have… but it’s still impressive.  =)

> You may want to donate something to David K. who really needs it.

There seems to be a problem with PayPal at the moment; as soon as it clears up, 
I will send DK a payment.

More anon,
Kieren.


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


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pretty-print and localAlterations

[Simon Albrecht]

Hello,

if I compile the following code:


\version "2.19.32"
#(use-modules (ice-9 pretty-print))

printKeysig =
\applyContext #(lambda (context)
 (format #t "~a" (pretty-print (ly:context-property context
'localAlterations
\relative {
  es'4 \printKeysig e'
}


I get a spurious # in the console output, on its own line.
Of course, it’s not an actual problem, but I’d still be curious where it 
comes from.


Yours, Simon

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Re: Telemann's "Strich"

[Andrew Bernard]

Interesting!

I have a generalised arrow drawing function that draws arrows of any length in 
any rotational position, done in Scheme. If I removed the arrowhead, do you 
think that would be useful? My arrows are not tapered lines, but of uniform 
thickness.

Amusingly, recently we wanted curved beams. Now we want straight slurs!

Andrew




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Re: Telemann's "Strich"

[Ralf Mattes]

 
Am Montag, 21. Dezember 2015 01:10 CET, Simon Albrecht  
schrieb: 
 
> I definitely agree with Richard’s interpretation that these are figured bass 
> extenders. The quote in your first example makes it really obvious: „Der 
> Strich bedeutet, dass die rechte Hand daselbst ruhe“ – ‘The line means that 
> the right hand should rest there.’

Oh, that's a rather unfortunate translation - it might be interpreted as "rest" 
in the sense of "to stop", which is probably not what is meant.
Maybe "the line means that the right hand stays where it is".


 Cheers, Ralf Mattes

> For a reengraving it’s definitely better to have them outside the staff, 
> together with the actual figures. One shouldn’t try sticking too closely to 
> the appearance of 18th century writing/engraving.
> 
> Yours, Simon
> 
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Re: lilypond-user Digest, Vol 157, Issue 92

[Cynthia Karl]

Sent from my iPhone

> On Dec 20, 2015, at 6:16 PM, lilypond-user-requ...@gnu.org wrote:
> 
> Send lilypond-user mailing list submissions to
>lilypond-user@gnu.org
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>https://lists.gnu.org/mailman/listinfo/lilypond-user
> or, via email, send a message with subject or body 'help' to
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> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of lilypond-user digest..."
> 
> 
> Today's Topics: 
> 
>   1. Re:big (?) challenge: multi-segment / multi-angle
>  OttavaBracket (Kieren MacMillan)
>   2. Re:saxophon multiphonic, how to (Klaus Blum)
>   3. Re:Telemann's "Strich" (Andrew Bernard)
>   4. Re:big (?) challenge: multi-segment / multi-angle
>  OttavaBracket (Thomas Morley)
>   5. Re:Telemann's "Strich" (Andrew Bernard)
>   6. Re:big (?) challenge: multi-segment / multi-angle
>  OttavaBracket (Kieren MacMillan)
>   7. Re:Telemann's "Strich" (Simon Albrecht)
>   8. pretty-print and localAlterations (Simon Albrecht)
> 
> 
> --
> 
> Message: 1
> Date: Sun, 20 Dec 2015 17:50:55 -0500
> From: Kieren MacMillan 
> To: Thomas Morley 
> Cc: Lilypond-User Mailing List 
> Subject: Re: big (?) challenge: multi-segment / multi-angle
>OttavaBracket
> Message-ID: <6e5d24fe-910a-4780-b260-d92a87c92...@sympatico.ca>
> Content-Type: text/plain; charset=utf-8
> 
> Hi Harm,
> 
>> you don't provide any code ;)
> 
> Well, to be honest, I didn?t expect an actual [honest-to-goodness Lilypond 
> code] fix: I thought the answer would either be ?look at X snippet? or ?can?t 
> be done? or ?this is issue Y?, or in the very best case scenario ?one *could* 
> create a ?kneed-spanner? thingee, if one wanted to??
> 
> I sometimes forget there are [amazing] people like you on this list, who 
> might actually take it upon themselves to solve such a gargantuan problem as 
> a first response.  =\
> 
> In the future, I?ll make it more explicit when I?m only looking [at first] 
> for a quick ?possible/impossible? answer.
> 
>> I really dislike inline-images.
> 
> Hmmm? I think that?s a problem with my mail application; I?ll look into it, 
> and try to use only outline (?) attachments from now on.
> 
>> Below some code, which hopefully does what you want
> 
> HOLY M OLY! This is fabulous.
> 1. Yes, it appears (at least, from your snippet) to do exactly what I want; I 
> will test it ?in production", and report back ASAP.
> 2. Let me know (off-line, if desired) what a reasonable fee is for your work; 
> I?ll definitely pay you something.
> 
>> Every layout-change will likely result in the need of readjusting?
> 
> That?s fine by me, at least in the short term: I can do all of the tweaking 
> in the edition-engraver (post-layout).
> 
>> It would be far simpler if one could add an option to make-path-stencil to 
>> draw dashed lines.
>> But I found no way to do so. Thus I defined `make-dashed-line-stencil' and 
>> `make-connected-dashed-line-stencil' first.
>> With `kneed-line' I try to give you a little easier to use code at hand, but 
>> I'm really not convinced.
> 
> Well, if anyone else finds this idea worth pursuing/sponsoring, perhaps we 
> can crowd-source your code into an awesome patch!?
> 
> Thanks again!
> I?ll report back soon.
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ? website: www.kierenmacmillan.info
> ? email: i...@kierenmacmillan.info
> 
> 
> 
> 
> --
> 
> Message: 2
> Date: Sun, 20 Dec 2015 16:03:15 -0700 (MST)
> From: Klaus Blum 
> To: lilypond-user@gnu.org
> Subject: Re: saxophon multiphonic, how to
> Message-ID: <1450652595379-184925.p...@n5.nabble.com>
> Content-Type: text/plain; charset=us-ascii
> 
> Hi Stefan, 
> 
> according to a saxophone tutor written by Jean-Marie Londeix, the three keys
> for the left palm are called C1, C2 and C4: 
> 
> % --
> 
> \markup \line { 
>  \center-column {
>C1
>" "
>\scale #'(-1 . 1) \woodwind-diagram
>#'saxophone
>#'(
>(cc . ())
>(lh . (d))
>(rh . ())
>)
>  }
>  \hspace #4
>  \center-column {
>C2
>" "
>\scale #'(-1 . 1) \woodwind-diagram
>#'saxophone
>#'(
>(cc . ())
>(lh . (ees))
>(rh . ())
>)
>  }
>  \hspace #4
>  \center-column {
>C4
>" "
>\scale #'(-1 . 1) \woodwind-diagram
>#'saxophone
>#'(
>(cc . ())
>(lh . (f))
>(rh . ())
>)
>  }
> }
> 
> % --
> 
> As you might see, I've flipped the charts with \scale #'(-1 . 1), so they
> show the fingerings from the 

Re: big (?) challenge: multi-segment / multi-angle OttavaBracket

[Thomas Morley]

2015-12-19 23:43 GMT+01:00 Kieren MacMillan :

> Hello all,
>
> The final line of the song I’m currently engraving looks like this:
>
> Questions:
>
> 1. How could I [best?] code this so that the OttavaBracket starts close to
> the top of the staff at the beginning of m. 31 (the Ab), angles upward at
> the third quarter of m. 33 (the Db), and then flattens out again for the
> last two triplet-eighths (the high Bb)?
>
> 2. Can this kind of “multi-segment” OttavaBracket (or, more generally,
> spanner) be automated and/or sugar-i-fied?
>
> Thanks for any hints/links/help,
> Kieren.
> 
>

Hi Kieren,

you don't provide any code ;)
And I really dislike inline-images.

That said, it's not that easy ...
Below some code, which hopefully does what you want, though it's a quite
terrible user-interface, if one can call it so at all.
Every layout-change will likely result in the need of readjusting...
At least it works.

It would be far simpler if one could add an option to make-path-stencil to
draw dashed lines. Like pure postscript in the following markup-example:

\markup
  \postscript
#"
 [0.5 0.5] 0.1 setdash
 0 0 moveto
 3 0 lineto
 5 3 lineto
 7 3 lineto
 7 2 lineto
 stroke
"

But I found no way to do so. Thus I defined `make-dashed-line-stencil' and
`make-connected-dashed-line-stencil' first.
With `kneed-line' I try to give you a little easier to use code at hand,
but I'm really not convinced.

Anyway here the code:

\version "2.19.32"

#(define (make-dashed-line-stencil width startx starty endx endy)
"Make a dashed line stencil of given linewidth and set its extents
accordingly."
  (let ((xext (ordered-cons 0 (- endx startx)))
(yext (ordered-cons 0 (- endy starty)))
(x (- endx startx))
(y (- endy starty)))
(ly:make-stencil
  ;; the numerical values in the line below determine the appearance
  ;; of the dashes, the last one is the `phase', i.e. where to start
  ;; the dashed-line
  (list 'dashed-line  width 0.4 0.6 x y 0)
  ;; Since the line has rounded edges, we have to / can safely add half
the
  ;; width to all coordinates!
  (interval-widen xext (/ width 2))
  (interval-widen yext (/ width 2))
  ;xext
  ;yext
  )))

#(define (make-connected-dashed-line-stencil points-list thickness)
"Connect the given points with dashed-lines"

  (define (coords->listed-coords coords-list)
(map
  (lambda (x y) (append x y))
  (cons (list 0 0) coords-list)
  coords-list))

  (let* ((coords (coords->listed-coords points-list)))
(apply
  ly:stencil-add
  (map
(lambda (coord x-move)
  (ly:stencil-translate
(make-dashed-line-stencil
  thickness
  (car coord)
  (cadr coord)
  (caddr coord)
  (cadddr coord))
  (cons (car coord) (cadr coord
coords
(cons 0 (map car coords))

#(define ((kneed-line coords start-offset) grob)
"Create a (dashed) line for overriding @code{OttavaBracket.stencil} based
on a
list of @var{coords} in @code{(cons x y)} form.  @code{x} is the portion of
the
width consumed for a given line and @code{y} is the portion of the height.
For example, @code{'((0.3 . 0.7) (0.8 . 0.9) (1.0 . 1.0))} means that at
the
point where the hairpin has consumed 30% of its width, it must be at 70% of
its
height.  Once it is to 80% width, it must be at 90% height.  It finishes at
100% width and 100% height.
"
  (define (pair-to-list pair)
(list (car pair) (cdr pair)))

  (define (normalize-coords goods x y)
(map
 (lambda (coord)
   (cons (* x (car coord)) (* y (cdr coord
 goods))

  (define (my-c-p-s points thick)
;(make-connected-path-stencil
; points
; thick
; 1.0
; 1.0
; #f
; #f)
(make-connected-dashed-line-stencil points thick)
)
  ;; outer let to trigger suicide
  (let ;((sten (ly:line-spanner::print grob)))
   ((sten (ly:ottava-bracket::print grob)))
(if (grob::is-live? grob)
(let* ((thick (ly:grob-property grob 'thickness 1))
   (thick (* thick (layout-line-thickness grob)))
   (xex (ly:stencil-extent sten X))
   (lenx (- (interval-length xex) (car start-offset)))
   (yex (ly:stencil-extent sten Y))
   (leny (interval-length yex))
   (xtrans (car xex))
   (ytrans (car yex))
   (uplist (map pair-to-list
(normalize-coords coords lenx (/ leny 2)
  (ly:stencil-add
(ly:stencil-translate
  (my-c-p-s uplist thick)
 (cons (+ xtrans (car start-offset)) (+ ytrans (cdr
start-offset
(grob-interpret-markup grob (ly:grob-property grob 'text
'(

#(define (kneed-spanner buckles height start-offset)
  (kneed-line
`((0 . 0)
 

Re: Unwanted naturals on teaching accidentals style

[francisperea]

Hi Jacques,

Thanks a lot! Worked like a charm!

Totally as I wanted. You save me the day.

Thanks again.



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Re: Telemann's "Strich"

[Richard Shann]

On Sun, 2015-12-20 at 12:44 +0100, Robert Blackstone wrote:
> Dear list,
> 
> 
> I’m working on a bilingual edition of Telemann’s  Singe-, Spiel- und
> General-Baß-Übungen, a very nice little tutorial consisting almost
> entirely of songs with a figured bass line and a written-out
> realization. 
> In the bass lines Telemann sometimes adds short straight lines
> parallel with the note heads, a sort of straight slur, indicating that
> the right hand should not play chords except on he first on these
> “slurred” notes. See the attached Telemann's_Strich.png


aren't these just figured bass extenders? These are standard in
LilyPond.

Richard




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Re: make-line-stencil

[David Kastrup]

Andrew Bernard  writes:

> The make-line-stencil function appears to be hardwired to draw lines with 
> rounded ends. Is there any way it can be persuaded to make lines with square 
> ends?
>
> This is the code in stencil.scm:
>
> (define-public (make-line-stencil width startx starty endx endy)
>   "Make a line stencil of given linewidth and set its extents accordingly."
>   (let ((xext (cons (min startx endx) (max startx endx)))
> (yext (cons (min starty endy) (max starty endy
> (ly:make-stencil
>  (list 'draw-line width startx starty endx endy)
>  ;; Since the line has rounded edges, we have to / can safely add half the
>  ;; width to all coordinates!
>  (interval-widen xext (/ width 2))
>  (interval-widen yext (/ width 2)
>
> I suspect the answer is buried somewhere in the output drawing routines, but 
> so far my detective work has failed to uncover where.

You can follow the links in
.

-- 
David Kastrup

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Telemann's "Strich"

[Robert Blackstone]

Dear list,

I’m working on a bilingual edition of Telemann’s  Singe-, Spiel- und 
General-Baß-Übungen, a very nice little tutorial consisting almost entirely of 
songs with a figured bass line and a written-out realization. 
In the bass lines Telemann sometimes adds short straight lines parallel with 
the note heads, a sort of straight slur, indicating that the right hand should 
not play chords except on he first on these “slurred” notes. See the attached 
Telemann's_Strich.png




Apparently this has also been used by other composers though I have not seen 
any examples. I also do not know if there is an official name for it.
Nor have I found such a line among LilyPond ’s grobs.
For a quick fix I have used tweaked slurs with \override Slur.ratio = #0.0  and 
in essence this works quite well except that, though straight, they still are 
slurs with tapered ends.

Does any of you know of a better solution?

Thanks in advance for any suggestions.

Best regards,
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Re: Unwanted naturals on teaching accidentals style

[Jacques Menu]

Hello Francis,

No such problem with 2.19.33. You can switch safely to that version in my 
opinion.

JM

> Le 20 déc. 2015 à 00:41, francisperea  a écrit :
> 
> Hi all, I'm just new to Lilypond and impressed with its capabilities.
> 
> One of my first tries with it was a set of scales for my own learning
> changing key every two bars. I wanted to show the accidentals of the key, so
> I used  \accidentalStyle teaching
> 
> The problem is that in the first bar of every key change it only shows the
> key accidentals as I wanted, but in the second bar of every key change a lot
> of unwanted naturals are shown. 
> 
> Any idea of how to get rid of them?
> 
> Thanks a lot in advance.
> 
> PS Here is the code I'm using, in case someone wants to test it.
> 
> \version "2.18.2"
> \language "espanol"
> 
> \header{
>  title = "Ejercicios de escalas mayores"
>  tagline = ""
> }
> 
> \relative {
> \accidentalStyle teaching
> \override AccidentalCautionary.parenthesized = ##f
> 
> \set Staff.printKeyCancellation = ##f
> \override Staff.KeyCancellation.break-visibility = #all-invisible   
> \set Staff.extraNatural = ##f
> 
>  \tempo 4 = 60
> 
> \key sib \major
>  sib8^"Sib" do re mib fa sol la sib
>  la sol fa mib re do sib4
> 
>  \key si \major
>  si8^"Si" dos res mi fas sols las si
>  las sols fas mi res dos si4
> 
>  \key do \major
>  do8^"Do" re mi fa sol la si do
>  si la sol fa mi re do4
> }
> 
> 
> 
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/Unwanted-naturals-on-teaching-accidentals-style-tp184888.html
> Sent from the User mailing list archive at Nabble.com.
> 
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Re: Adjusting a slur after line break

[Simon Albrecht]

On 20.12.2015 01:50, Chris Yate wrote:
On 20 December 2015 at 00:41, Simon Albrecht > wrote:


On 20.12.2015 00 :45, Chris Yate wrote:

I can't get /alterBroken to work properly at all on control
points.

When I try the "tweak" version, that I assume would look like:



r4.
d,16-\alterBroken control-points #'(((0.0 . 0.0) (0 . 1.2) (0
. 1.2) (4 . 1))  ((0.0 . 0.0) (0 . 1.2) (0 . 1.2) (4 . 1)) 
((0 . 4.0) (0 . 3) (0 . 1) (0 . 0)) )

(f af cf af bf  |



 then the slur only appears as a small, and odd-shaped
squiggle by the first note d.  Editing these control points is
a bit of hit and miss anyway, but I don't feel I understand
the syntax for \alterBroken well enough; there are too few
examples at present!


The big advantage of the shape command is that you can give
offsets for each control point against the default shape. The
control-points property however has every point coded relative to
the reference point for the entire slur (the note head of the
first note in the slur, I think), which often makes numbers very
high and trial and error very time-consuming.

The second argument to \alterBroken is a list. Each of its
elements will be applied to one of the segments of the broken
spanner. If you supply less entries than there are segments, the
remaining segments will not be tweaked.

HTH, Simon


I think I *half* understand what "shape" is doing, but I can't get 
alterBroken to work for the control points. Can you give a working 
example?


See attachment.



(I only half understand it, but I know the _two pairs_ of numbers at 
_each_ end of a slur shape, which code for the bezier coordinates, 
give the four sets of bracketed values. How the numbers work isn't a 
complete mystery but I've not yet found a better way to determine them 
than to keep plugging in numbers until it looks good, by iteration. A 
graphical tool would be WONDERFUL ;-) ).


Of course: 
A really graphical tool is on the TODO list of the Frescobaldi devs also.
In the meantime: do you know shapeII from openlilylib? It’s not free 
from bugs nor ready for inclusion into LilyPond proper, but it does 
provide great utility for convenience in bézier tweaking. See 
; 
the example file provides extensive documentation.


Yours, Simon
\version "2.19.27"

test =
#(define-music-function (ev) (ly:music?)
   (tweak 'color red ev))

{
  c''-\test \> g'-\test \f
}\version "2.19.32"
\paper { #(set-paper-size "a9") indent = 0 }
#(ly:set-option 'point-and-click #f)
\header { tagline = ##f }
{
  \alterBroken control-points #'(
  ((0 . -2)(0 . 1)(4 . -1)(4 . 2))
  ((10 . 0)(12 . 0)(12 . 2)(10 . 2))
) Slur
  1( \break
  1)
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Re: transpose pitch by semitones

[David Kastrup]

Urs Liska  writes:

> Am 01.12.2015 um 15:48 schrieb Gilles THIBAULT:
>>> OK, this one is more straightforward...
>> ...but your idea was probably the best :
>
> :-)
>
> Thank you for your input and sorry I didn't have time to reply earlier.
> Maybe "best" is also a matter of use case here, but I have the
> impression that in this case a simple lookup *is* the most
> straightforward solution. In the light of your suggestions I would add a
> second lis producing flats instead of sharps, though.
>
> Still I think there should be a built-in solution. When LilyPond does
> transpositions and similar operations doesn't it work on semitones
> either, converting to and from?

See issue 4702.  After it passes, you can say something like

>> 
>> #(define (semitones->pitch semitone)
>>(let ((index (modulo semitone 12))
>>  (octave (quotient semitone 12)))
>>  (apply ly:make-pitch (cons
>>   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)
>>
>> %%test

(define semitones->pitch
  (make-semitone->pitch
(music-pitches #{ c cis d dis e f fis g gis a ais b #})))

You can use any other coverage of the semitone space as well for the
lookup.  Or add quartertones into the mix.  Or use "bad octave" notes
like bis or ces for lookup.

-- 
David Kastrup

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Re: Telemann's "Strich"

[Robert Blackstone]

Hello Richard,

I should have shown a bit more of Telemann's original. 
Telemann writes his figures above the bass staff, and only occasionally, when 
there is not enough space for two numbers on top of each other, the bottom will 
go below the staff. I think that what you saw as figures are actually 
references to "footnotes" below the music.
So no, I don't think they are figured bass extenders (aren't these horizontal 
lines following a number or an accidental? Nowhere in this collection there is 
such a horizontal line.)  
Telemann uses the straight lines much like slurs, and in some of his songs one 
can find them both, curved and straight slurs, apparently for the same purpose, 
judging from his realization. 

Best regards, 
Robert

> On 20 dec. 2015, at 12:52, Richard Shann  wrote:
> 
> On Sun, 2015-12-20 at 12:44 +0100, Robert Blackstone wrote:
>> Dear list,
>> 
>> 
>> I’m working on a bilingual edition of Telemann’s  Singe-, Spiel- und
>> General-Baß-Übungen, a very nice little tutorial consisting almost
>> entirely of songs with a figured bass line and a written-out
>> realization. 
>> In the bass lines Telemann sometimes adds short straight lines
>> parallel with the note heads, a sort of straight slur, indicating that
>> the right hand should not play chords except on he first on these
>> “slurred” notes. See the attached Telemann's_Strich.png
> 
> 
> aren't these just figured bass extenders? These are standard in
> LilyPond.
> 
> Richard
> 
> 
> 


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Re: \time command

[Noeck]

Hi Jérôme,

\time is accepted basically anywhere in a music expression.
You seem to be confused by the different meaning of braces:
1) enclosing a music expression
2) grouping arguments

In your case:
1) Your music (\time 4/4 c1) must be put into braces to form a music
expression, otherwise they would be two independent objects put into
your score and it can handle only one music expression.
2) \score must have braces around its content (which can be music, a
\header, a \layout or a \midi block), like

\score { { \time 4/4 c1 } }


Am 20.12.2015 um 15:37 schrieb Jérôme Plût:
> % -- first file
> \score { \time 4/4 c1 }
> 
> error: syntax error, unexpected NOTENAME_PITCH

\time 4/4 is your music, the c1 is separate and has not meaning here
(therefore unexpected).

> % -- second file
> \score \relative c' { \time 4/4 c1 }
> 
> error: syntax error, unexpected MUSIC_FUNCTION, expecting '{'

The {} around the score arguments is missing.

HTH,
Joram

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Re: customize instrument tuning

[BB]

I did it this way: (not optimal, but works)

\version "2.19.20"

#(set-global-staff-size 30)

cMajor = {  }

\score {

<<

\new Staff {

\relative c'' {

\cMajor }

}

\new FretBoards

%\set Staff.stringTunings = #cuatroTuning

\with { stringTunings = \stringTuning < e, as, c e as c'> }

{\cMajor}

\new TabStaff \with { stringTunings = \stringTuning < e, as, c e as c'> }

\relative c' {

%\set TabStaff.stringTunings = #cuatroTuning

\cMajor }

>>

\layout {

\context {

\Score

}

}

}



On 20.12.2015 15:12, BB wrote:

M3Tuning = e as c e as c


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Re: Telemann's "Strich"

[Richard Shann]

On Sun, 2015-12-20 at 14:22 +0100, Robert Blackstone wrote:
> Hello Richard,
> 
> I should have shown a bit more of Telemann's original. 
> Telemann writes his figures above the bass staff,
that's the commonest position until the 19th c (which is what LilyPond
defaults to, I made Denemo tell LilyPond to follow the 18th c norm).
>  and only occasionally, when there is not enough space for two numbers on top 
> of each other, the bottom will go below the staff.

>  I think that what you saw as figures are actually references to "footnotes" 
> below the music.
I can see the figures (a bit cut off) above. The figures in parentheses
are pretty clearly not figured bass, so the straight line between (9)
and (10) is curious in being below, but otherwise is a not-implausible
bass figure extender.

> So no, I don't think they are figured bass extenders (aren't these horizontal 
> lines following a number or an accidental? 

well, no. They are often angled and they don't end with a number or
accidental, though the note where they end may have these. My
understanding of them is that they are an indication that the harmony is
not changing, rather than any sort of hint as to whether to repeat the
chord.

> Nowhere in this collection there is such a horizontal line.)  
> Telemann uses the straight lines much like slurs, and in some of his songs 
> one can find them both, curved and straight slurs, apparently for the same 
> purpose, judging from his realization. 
Is this piece in IMSLP?

Richard

> Best regards, 
> Robert
> 
> > On 20 dec. 2015, at 12:52, Richard Shann  wrote:
> > 
> > On Sun, 2015-12-20 at 12:44 +0100, Robert Blackstone wrote:
> >> Dear list,
> >> 
> >> 
> >> I’m working on a bilingual edition of Telemann’s  Singe-, Spiel- und
> >> General-Baß-Übungen, a very nice little tutorial consisting almost
> >> entirely of songs with a figured bass line and a written-out
> >> realization. 
> >> In the bass lines Telemann sometimes adds short straight lines
> >> parallel with the note heads, a sort of straight slur, indicating that
> >> the right hand should not play chords except on he first on these
> >> “slurred” notes. See the attached Telemann's_Strich.png
> > 
> > 
> > aren't these just figured bass extenders? These are standard in
> > LilyPond.
> > 
> > Richard
> > 
> > 
> > 
> 



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customize instrument tuning

[BB]

Im trying to understand the the tuning parameters. I worked with a 
couple of years ago, but cannot remember. The example in the manual uses



%Cuatro Venezolanoa - d' - f'# - b
cuatroTuning = #`(,(ly:make-pitch 0 6 0)
  ,(ly:make-pitch 1 3 SHARP)
  ,(ly:make-pitch 1 0 0)
  ,(ly:make-pitch 0 5 0))


As far as I remeber and I found in my old code I used another syntax?

cuatroTuning = #'(11 18 14 9)
But I cannot remember the meaning of the numbers either.

How can I define an Instrument in major thirds tuning?
i. e. M3Tuning = c as c e as c

Regards

(By the way, there is another Cuatro in use: Cuatro Puertorriqueno 
5x2  strings   Bb - ee' - aa - d'd' - g'g')


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Re: Telemann's "Strich"

[Robert Blackstone]

On 20 Dec 2015, at 14:36 , Richard Shann  wrote:

> Is this piece in IMSLP?
> 
> Richard
> 


Yes, the whole tutorial can be found in 
http://imslp.org/wiki/Singe-,_Spiel-_und_Generalbass%C3%BCbungen,_TWV_25:39-85_(Telemann,_Georg_Philipp)

Robert

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Re: \time command

[BB]

Try

\score

{ \relative c' { \time 4/4 c1 }

}



On 20.12.2015 15:37, Jérôme Plût wrote:

\score \relative c' { \time 4/4 c1 }


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\time command

[Jérôme Plût]

% -- first file
\score { \time 4/4 c1 }

error: syntax error, unexpected NOTENAME_PITCH

% -- second file
\score \relative c' { \time 4/4 c1 }

error: syntax error, unexpected MUSIC_FUNCTION, expecting '{'

Why does this not compile? The manual has no indication on where the
\time command is accepted, and plainly says that \score, as a
top-level command, is allowed. This is Lilypond 2.18.2, which I know
is not bleeding-edge new (but this is what Debian stable has, and this
not likely to depend much on Lilypond version).

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Re: \time command

[Jérôme Plût]

Decimo tertio Kalendas Ianuarias MMXVI scripsit Noeck :
> \score { { \time 4/4 c1 } }

Thanks to all three of you for your exceptionnally fast and precise
answers! Indeed, this helped a lot (I usually put a lot of junk
between \score {... } and the actual notes, which helped with the
braces, and did not notice where it failed this time).

-- 
Jérôme Plût

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Re: Telemann's "Strich"

[Richard Shann]

On Sun, 2015-12-20 at 13:36 +, Richard Shann wrote:
> On Sun, 2015-12-20 at 14:22 +0100, Robert Blackstone wrote:
> > Hello Richard,
> > 
> > I should have shown a bit more of Telemann's original. 
> > Telemann writes his figures above the bass staff,
> that's the commonest position until the 19th c (which is what LilyPond
> defaults to, I made Denemo tell LilyPond to follow the 18th c norm).
> >  and only occasionally, when there is not enough space for two numbers on 
> > top of each other, the bottom will go below the staff.
> 
> >  I think that what you saw as figures are actually references to 
> > "footnotes" below the music.
> I can see the figures (a bit cut off) above. The figures in parentheses
> are pretty clearly not figured bass, so the straight line between (9)
> and (10) is curious in being below, but otherwise is a not-implausible
> bass figure extender.
> 
> > So no, I don't think they are figured bass extenders (aren't these 
> > horizontal lines following a number or an accidental? 
> 
> well, no. They are often angled and they don't end with a number or
> accidental, though the note where they end may have these. My
> understanding of them is that they are an indication that the harmony is
> not changing, rather than any sort of hint as to whether to repeat the
> chord.
> 
> > Nowhere in this collection there is such a horizontal line.)  
> > Telemann uses the straight lines much like slurs, and in some of his songs 
> > one can find them both, curved and straight slurs, apparently for the same 
> > purpose, judging from his realization. 
> Is this piece in IMSLP?

Thank you for the link to IMSLP. I've typeset the melody and bass of
this piece using LilyPond (via Denemo, attached) - looking through it
I'm convinced that those are indeed figured bass extenders, they all
bear that interpretation (given that he has explicitly shown the
harmonies he intends). His convention seems to be that the figured bass
extender is always placed on the opposite side to the beam (that would
be direction='auto in LilyPond-speak?).

Best

Richard


> 
> Richard
> 
> > Best regards, 
> > Robert
> > 
> > > On 20 dec. 2015, at 12:52, Richard Shann  wrote:
> > > 
> > > On Sun, 2015-12-20 at 12:44 +0100, Robert Blackstone wrote:
> > >> Dear list,
> > >> 
> > >> 
> > >> I’m working on a bilingual edition of Telemann’s  Singe-, Spiel- und
> > >> General-Baß-Übungen, a very nice little tutorial consisting almost
> > >> entirely of songs with a figured bass line and a written-out
> > >> realization. 
> > >> In the bass lines Telemann sometimes adds short straight lines
> > >> parallel with the note heads, a sort of straight slur, indicating that
> > >> the right hand should not play chords except on he first on these
> > >> “slurred” notes. See the attached Telemann's_Strich.png
> > > 
> > > 
> > > aren't these just figured bass extenders? These are standard in
> > > LilyPond.
> > > 
> > > Richard
> > > 
> > > 
> > > 
> > 
> 
> 
> 
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No1-Default Score Layout.pdf
Description: Adobe PDF document
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saxophon multiphonic, how to

[Stefan Thomas]

Dear community,
I would like to write the fingering for a multiphonic, I found on this site:
https://www.baerenreiter.com/materialien/weiss_netti/saxophon/mp3/mp3_mp/alto/seite10/altomph10.html
It' s the one with the number 92.
Can someone tell me, how to write the fingering for this multiphonic with
lilypond?
Thanks,
Stefan
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Re: LilyPond latest unstable

[Jacques Menu]

Hello Robert,

You’re welcome!

You can force all such .bz2 archive to be opened by the Archive Utility this 
way:
- select the file
- Cmd-I and the file’s info dialog show up
- under «  Open with » , chose Archive Utility in the popup menu
- click on « Modify all » or whatever it’s name in your language

JM

> Le 19 déc. 2015 à 21:49, Robert Blackstone  a 
> écrit :
> 
> Hello Jacques,
> 
> Ref.: "How did you actually install it from the .tar.bz2 archive?"
> 
> I opened it with Keka, later I tried with Rar-7zExtractor.
> Half an hour ago I had a go at it again, opening it with  Archive Utility.app 
> (In System/Library/CoreServices) and that worked.
> 
> So my problem seems to be solved. Though I have no idea why different 
> extractors yield different results.
> 
> Thanks for your help anway.
> 
> Best regards,
> Robert Blackstone
> 
> 
> 
> On 19 Dec 2015, at 20:10 , Jacques Menu  > wrote:
> 
>> 
>> Hello Robert,
>> 
>> This works fine for me on OS X 10.11.2:
>> 
>> menu@macbookprojm:~/Downloads > ll lilypond-2.19.33-1.darwin-x86.tar.bz2 
>> 43528 -rw-r--r--@ 1 menu  admin  22283584 Dec  6 23:09:58 2015 
>> lilypond-2.19.33-1.darwin-x86.tar.bz2
>> 
>> menu@macbookprojm:~/Downloads > lilypond --version
>> GNU LilyPond 2.19.33
>> 
>> Copyright (c) 1996--2015 by
>>   Han-Wen Nienhuys >
>>   Jan Nieuwenhuizen >
>>   and others.
>> 
>> This program is free software.  It is covered by the GNU General Public
>> License and you are welcome to change it and/or distribute copies of it
>> under certain conditions.  Invoke as `lilypond --warranty' for more
>> information.
>> 
>> How did you actually install it from the .tar.bz2 archive?
>> 
>> JM
>> 
>>> Le 19 déc. 2015 à 19:16, Robert Blackstone >> > a écrit :
>>> 
>>> Dear list (perhaps I should have addressed one particular person but I 
>>> would not know who that might be.)
>>> 
>>> Today I downloaded from http://www.lilypond.org/development.fr.html 
>>>  the latest unstable version 
>>> for Mac OSX 
>>> (http://download.linuxaudio.org/lilypond/binaries/darwin-x86/lilypond-2.19.33-1.darwin-x86.tar.bz2
>>>  
>>> ).
>>> 
>>> The app. doesn't work (no permission).
>>> I found that 
>>> /Applications/LilyPond 2_19_33-1.app/Contents/Resources/bin contains no 
>>> executables, just text files.
>>> 
>>> So something must have gone wrong somewhere.
>>> Fortunately none of the other versions I have on my Mac shows any problems.
>>> 
>>> Best regards,
>>> 
>>> Robert Blackstone
>>> 
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>>> 
>> 
> 

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Re: Unwanted naturals on teaching accidentals style

[Jacques Menu]

Hi Francis,

Iour velkom!

JM

> Le 20 déc. 2015 à 12:26, francisperea  a écrit :
> 
> Hi Jacques,
> 
> Thanks a lot! Worked like a charm!
> 
> Totally as I wanted. You save me the day.
> 
> Thanks again.
> 
> 
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/Unwanted-naturals-on-teaching-accidentals-style-tp184888p184900.html
> Sent from the User mailing list archive at Nabble.com.
> 
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Re: saxophon multiphonic, how to

[Stefan Thomas]

Dear Andrew,
I've tried it with the following code:
mphonicXCII = ^\markup { \override #'(size . 0.4) {  \woodwind-diagram
#'saxophone #'((cc . (one two three )) (lh . ()) (rh . ())) } }
But the saxophone player told me, the output was not the right chart.
Maybee a user, who can play sax can tell me, how to write it.
Thanks,
Stefan

2015-12-20 17:39 GMT+01:00 N. Andrew Walsh :

> Hi Stefan,
>
> well, if all you need is the fingering diagram, then the section in the
> Notation Reference on woodwind fingerings:
>
> http://lilypond.org/doc/v2.19/Documentation/notation/woodwind-diagrams
>
> will give you all the information you need. I don't know from looking what
> is meant by "c12" in the linked page, but that should be easy enough to
> figure out.
>
> Cheers,
>
> A
>
> On Sun, Dec 20, 2015 at 5:15 PM, Stefan Thomas <
> kontrapunktste...@gmail.com> wrote:
>
>> Dear community,
>> I would like to write the fingering for a multiphonic, I found on this
>> site:
>>
>> https://www.baerenreiter.com/materialien/weiss_netti/saxophon/mp3/mp3_mp/alto/seite10/altomph10.html
>> It' s the one with the number 92.
>> Can someone tell me, how to write the fingering for this multiphonic with
>> lilypond?
>> Thanks,
>> Stefan
>>
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>>
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Re: saxophon multiphonic, how to

[Orm Finnendahl]

Am Sonntag, den 20. Dezember 2015 um 17:47:39 Uhr (+0100) schrieb Stefan Thomas:
> Dear Andrew,
> I've tried it with the following code:
> mphonicXCII = ^\markup { \override #'(size . 0.4) {  \woodwind-diagram
> #'saxophone #'((cc . (one two three )) (lh . ()) (rh . ())) } }
> But the saxophone player told me, the output was not the right chart.

I would strongly suggest, you ask the sax player for a chart, he is
willing to accept as there is no "right" or "wrong" chart for these
diagrams, but rather different systems used by different authors. It
is not unlikely that you will find a chart accepted by the player in
the other woodwind instrument's fingering chart systems.

In any case any sax player should be capable of understanding
lilypond's default fingering chart as this the closest to a pictorial
rendering of the keys of a Saxophone. Any instrumentalist with a
reasonable sense of cooperation should be able to deal with it ;-)

--
Orm

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Re: Why does \skip extend an extender

[Cynthia Karl]

> On Nov 29, 2014, at 9:51 AM, Phil Holmes  wrote:
> 
> - Original Message - From: "Patrick or Cynthia Karl" 
> To: 
> Sent: Saturday, November 29, 2014 3:41 PM
> Subject: Why does \skip extend an extender
> 
> 
>> In the following snippet:
>> 
>> music = \relative b' {
>> c4 d e f
>> f g a b
>> c,1
>> }
>> 
>> Lyrics = \lyricmode {
>> c d e __ _
>> _ \skip 1 \skip 1 \skip 1
>> C
>> }
>> 
>> \score {
>> \new Staff \music
>> \addlyrics \Lyrics
>> \layout { }
>> }
>> 
>> I want the three skips to skip past the notes "g a b".  That is, I want the 
>> singing of “e” to terminate with the 2nd “f”.  But for some reason the 
>> extender is extended through the notes “g a b”.  How can I fix this?
> 
> Clearly the extender continues since the expectation is that the singer has 
> to do something with these notes, and continuing to sing "e" is the only 
> option.  If the extender ended on the 2nd f, I would have no idea what is 
> intended for the next 3 notes.  It would be very confusing.

I guess I don’t really understand the thinking here.  Does it not frequently 
happen that an instrument performer and a singer “play” the same notes, the 
performer on his instrument and the singer with his voice?  And if that ever 
does happen, wouldn’t it be conceivable that there might come a time when the 
singer should be silent while the performer continues on with the notes?

I just ran into this again this morning with the song by Anonymous, "Si de vos 
mi bien me aparto”, from Venice in the 1500s.  The cantus part has a second 
verse in the first staff of the piece, then silence until the last staff of the 
piece, when the second verse reappears.

Expectations aside, I have been unable to find documentation supporting this 
quirk of \skip.  I don’t see why \skip has to take on the duties of “_” in 
extending an extender another note.
> 
> However, if you want to do this, replace \skip with "".
> 
> --
> Phil Holmes 


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Re: customize instrument tuning

[Jacques Menu]

Hello BB,

You can write what follows, HTH.

JM


\version "2.19.33"

#(set-global-staff-size 30)

cMajor = {  }

myTuning = \stringTuning < e, as, c e as c'>

\score {
  <<
\new Staff {
  \relative c'' {
\cMajor
  }
}

\new FretBoards
%\set Staff.stringTunings = #cuatroTuning
\with { stringTunings =  \myTuning }
{
  \cMajor
}

\new TabStaff \with { stringTunings = \myTuning }
\relative c' {
  %\set TabStaff.stringTunings = #cuatroTuning
  \cMajor
}
  >>

\layout {
\context {
  \Score
}
  }
}


> Le 20 déc. 2015 à 16:38, BB  a écrit :
> 
> I did it this way: (not optimal, but works)
> 
> \version "2.19.20"
> 
> #(set-global-staff-size 30)   
> 
> cMajor = {  }
> 
> \score {
>   <<
> \new Staff {
>   \relative c'' {
> \cMajor }
> }
> \new FretBoards 
>   %\set Staff.stringTunings = #cuatroTuning
>  \with { stringTunings = \stringTuning < e, as, c e as c'> }
>   {\cMajor}
> \new TabStaff \with { stringTunings = \stringTuning < e, as, c e as c'> }
> \relative c' {
>   %\set TabStaff.stringTunings = #cuatroTuning
>   \cMajor }
> 
>   >>
>   \layout {
> \context {
>   \Score
> }
>   }
> }
> 
> 
> On 20.12.2015 15:12, BB wrote:
>> M3Tuning = e as c e as c
> 
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Re: saxophon multiphonic, how to

[N. Andrew Walsh]

Hi Stefan,

well, if all you need is the fingering diagram, then the section in the
Notation Reference on woodwind fingerings:

http://lilypond.org/doc/v2.19/Documentation/notation/woodwind-diagrams

will give you all the information you need. I don't know from looking what
is meant by "c12" in the linked page, but that should be easy enough to
figure out.

Cheers,

A

On Sun, Dec 20, 2015 at 5:15 PM, Stefan Thomas 
wrote:

> Dear community,
> I would like to write the fingering for a multiphonic, I found on this
> site:
>
> https://www.baerenreiter.com/materialien/weiss_netti/saxophon/mp3/mp3_mp/alto/seite10/altomph10.html
> It' s the one with the number 92.
> Can someone tell me, how to write the fingering for this multiphonic with
> lilypond?
> Thanks,
> Stefan
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
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Re: Why does \skip extend an extender

[Thomas Morley]

2015-12-20 18:35 GMT+01:00 Cynthia Karl :
>
>> On Nov 29, 2014, at 9:51 AM, Phil Holmes  wrote:
>>
>> - Original Message - From: "Patrick or Cynthia Karl" 
>> To: 
>> Sent: Saturday, November 29, 2014 3:41 PM
>> Subject: Why does \skip extend an extender
>>
>>
>>> In the following snippet:
>>>
>>> music = \relative b' {
>>> c4 d e f
>>> f g a b
>>> c,1
>>> }
>>>
>>> Lyrics = \lyricmode {
>>> c d e __ _
>>> _ \skip 1 \skip 1 \skip 1
>>> C
>>> }
>>>
>>> \score {
>>> \new Staff \music
>>> \addlyrics \Lyrics
>>> \layout { }
>>> }
>>>
>>> I want the three skips to skip past the notes "g a b".  That is, I want the 
>>> singing of “e” to terminate with the 2nd “f”.  But for some reason the 
>>> extender is extended through the notes “g a b”.  How can I fix this?
>>
>> Clearly the extender continues since the expectation is that the singer has 
>> to do something with these notes, and continuing to sing "e" is the only 
>> option.  If the extender ended on the 2nd f, I would have no idea what is 
>> intended for the next 3 notes.  It would be very confusing.
>
> I guess I don’t really understand the thinking here.  Does it not frequently 
> happen that an instrument performer and a singer “play” the same notes, the 
> performer on his instrument and the singer with his voice?  And if that ever 
> does happen, wouldn’t it be conceivable that there might come a time when the 
> singer should be silent while the performer continues on with the notes?
>
> I just ran into this again this morning with the song by Anonymous, "Si de 
> vos mi bien me aparto”, from Venice in the 1500s.  The cantus part has a 
> second verse in the first staff of the piece, then silence until the last 
> staff of the piece, when the second verse reappears.

Already done here:
http://www.uma.es/victoria/varios.html
ly-file:
http://www.uma.es/victoria/varios/ly/Anonimo-Si_De_Vos_Mi_Bien.ly

>
> Expectations aside, I have been unable to find documentation supporting this 
> quirk of \skip.  I don’t see why \skip has to take on the duties of “_” in 
> extending an extender another note.

Well, quite often the same goal can be reached taking different
routes. Documenting all might blow up the docs even more...

>>
>> However, if you want to do this, replace \skip with "".

Doesn't work properly. It will return a warning.
See the examples below with different approaches, some work some not.

\version "2.14.2" % up to 2.19.32

\relative c' {
  c4 d e f g2 e c1
}
\addlyrics { c d e f __ _ _ C }
\addlyrics { c d e f __ _ \skip 1 C }
\addlyrics { c d e f __ _  " " C }
\addlyrics { c d e f __ _ \markup " " C }
%% works:
\addlyrics { c d e f __ _  "  " C } %% nb, doubled space!
\addlyrics { c d e f __ _ \markup \null C }
%% The following ends the extender but returns:
%% 2.14.2: programming error: cannot align on self: empty element
%% 2.16.2: works without warning
%% >=2.18.2: warning: LyricText has empty extent and non-empty stencil.
\addlyrics { c d e f __ _  "" C }

So I'd think we should have a documented method to finish an extender
where the user wants.

Cheers,
  Harm

>>
>> --
>> Phil Holmes

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