Re: Import pdf into Lilypond (no ocr/omr)

[Jacques Menu]

Hello T4b,

I use PhotoScore Ultimate often. Does a great job, but is not free.

JM

> Le 14 janv. 2016 à 22:56, Rutger Hofman  a écrit :
> 
> On Windows, there is PDFtoMusicPro, which is (of course) not free. For Unix, 
> it lets itself be installed under Wine. The free trial version only processes 
> the first page of a document.
> 
> Rutger
> 
> On 01/14/2016 10:03 PM, T4b wrote:
>> Hi,
>> 
>> sorry if this has been asked before, didn't find anything.
>> Is there a free program which analyzes pdf files to produce Lilypond
>> source code?
>> That is, I don't mean analyzing raster graphics, I mean analyzing a pdf
>> file (generated by some score writer) which already contains just
>> instructions on where to place which symbol.
>> If nothing exists I guess that could be a nice project and I would start
>> looking at pdf parsing libraries.
>> 
>> T4b
>> 
>> 
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Re: Behavior of non-flag side with strictBeatBeaming

[Urs Liska]

Am 15.01.2016 um 08:49 schrieb Urs Liska:
>> > Actually, I'm missing a solution that looks like F) but has three
>> > beams between 2 and 3.
> I've been thinking about that too. This would somehow be like a "partial
> subdivision" where the beam count is not governed by the
> rhythmic_importance of the right note.
>
> Am I right that you want a solution that prints exactly one beam less
> than the neighboring stem with the least beams. I don't think you'd want
> to print four beams if it should happen to fall on a "1/64" subdivision?
>
> In general I think having the implicitly generated subdivision governed
> by the metric situation is a good thing, as it helps the eye knowing
> where we are. So I would prefer having yet another context option to
> control that behaviour. Any opinions whether that might be appropriate
> (to add an option for such a minor issue)?
>

Maybe I should not add yet another option but change the (new) option to
take a symbol

\set subdivideAtStrictBeatBeaming = subdivision % beam counts like at a
subdivision
\set subdivideAtStrictBeatBeaming = simple % print as many beams as
possible (one less than all neighbors)
\set subdivideAtStrictBeatBeaming = off

We could then discuss which of the two first options should be the default.

To make it a little clearer for people who haven't followed that closely
so far:
"subdivision" would print the result as in line F) of the
strict-beat-beaming.pdf attached earlier
"simple" would instead print three beams between stem 2 and 3 of that line.

Opinions?
Urs


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Ossia problem - different timing

[Ralph Palmer]

Greetings -

I'm running LilyPond 2.19.33 under Win8.

I have a piece with multiple ossia challenges. I think I'm almost there
(unless I have to make fundamental changes). I'm attaching what I have so
far.

There are two changes I need to make. I can provide you with a pdf of what
I'm looking for, but I'll have to transcribe it by hand. I think an
explanation should be sufficient; if it's not, please let me know and I'll
send a hand transcription.

1) The lower ossia replaces *four* bars in the main grand staff (i.e., the
last bar line in the lower ossia grand staff needs to line up with the bar
line ending the fourth bar in the third line of the main grand staff). And
I would like the spacing of the bars in the lower ossia to look "normal"
within the ossia itself.

2) Because the bar lines in the lower ossia will be offset from the bar
lines in the main grand staff (except for the final one of the ossia), I
need to eliminate the "span bars" between the main grand staff and the
lower ossia (again, except for the final one of the ossia). I want to keep
the span bar dashed.

If both of these are not possible, I at least need to match the three bars
of the lower ossia to four bars of the main grand staff.

I'm attaching my current .ly file and my current pdf.

Thank you in advance for any help and/or pointers you can provide. Maybe we
can turn this into a snippet for the LSR.

All the best,

Ralph


-- 
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com
% Ossia above and below the staves
\version "2.19.33"

\language "english"
#(set-global-staff-size 20)

upper =
\relative c' {  
  \key g \major
  \clef treble
  \time 4/4

  \override Score.NonMusicalPaperColumn.line-break-permission = ##f
  
  d4^"main staff" d e e |
  d4 d e e |
  d4 d e e |
  d4 d e e |
  d4 d e e |
  \break
  
  d4 d e e |
  d4 d e e |
  d4 d e e |  
  d4 d e e |
  d4 d e e |
  \break
  
  d4 d e e |
  d4 d e e |
  d4 d e e |
  d4 d e e |
  d4 d e e |
  \break  
}

lower =
\relative c' {  
  \key g \major
  \clef treble
  \time 4/4

  \override Score.NonMusicalPaperColumn.line-break-permission = ##f
  
  e4^"lower staff" e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d |
  \break
  
  e4 e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d | 
  e4 e d d |   
  \break
  
  e4 e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d |
  \break
}

upperOssia =
\relative c'' {
  s1*5 |
  d4^"Facilité"_"upper ossia" e f g |
  d4 e f g |
  d4 e f g |
}


lowerOssiaA =
\relative c'' {
  s1*10
  g4^"Facilité"_"lower ossia" a b c |
  g4 a b c |
  g4 a b c |
}

lowerOssiaB =
\relative c'' {
  s1*10
  c4 b a g |
  c4 b a g |
  c4 b a g |
}


% Ossia score

\score {
  \new StaffGroup 
\with {
  \override SpanBar.glyph-name = #"!"
  }
  <<
\new Staff 
\with {
  \remove "Time_signature_engraver"
  fontSize = #-3
  \override StaffSymbol.staff-space = #(magstep -3)
  \override StaffSymbol.thickness = #(magstep -3)
}
<< \upperOssia >>
<<
  \new GrandStaff 
  \with {
\override SpanBar.glyph-name = #"|"
  }
  <<
\new Staff << \upper >>
\new Staff << \lower >>
  >>
>>
<<
  \new GrandStaff 
  \with {
  \override SpanBar.glyph-name = #"|"
}
<<
\new Staff
\with {
  \remove "Time_signature_engraver"
  fontSize = #-3
  \override StaffSymbol.staff-space = #(magstep -3)
  \override StaffSymbol.thickness = #(magstep -3)
  %firstClef = ##f
}
<< \lowerOssiaA >>
\new Staff
\with {
  \remove "Time_signature_engraver"
  fontSize = #-3
  \override StaffSymbol.staff-space = #(magstep -3)
  \override StaffSymbol.thickness = #(magstep -3)
  %firstClef = ##f
}
<< \lowerOssiaB >>
  >>
>>
  >>
  
  \header {
piece = "Ossia : single staff above; grand staff below, with different timing"
  }
  \layout {
\context {
  \Staff \RemoveEmptyStaves
  \override VerticalAxisGroup.remove-first = ##t
}
  }
  %  \midi {}
}



multiOssia.pdf
Description: Adobe PDF document
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Markup breaking score, stemlets not behaving, double barlines not showing.

[Carl-Henrik Buschmann]

I'm working on a lead sheet but being a novice i'm hitting my head against the wall at some noob problems. Bar 1) Stemlets. Do it have to be this hard creating them? Is there a way to make it global? Also, i want the stemlet to reach down towards the rest. How?How do i make custom rehersal marks?When using \markup { ... } the whole score looses it layout and to add insult it does not display any text. I must have done something wrong.Bar 8)Why does the double barline not exend equaly through both staffs?Bar 37)Why does it not show a double bar line?And finally: I feel my score is a mess. How can i clean up/simplify my input? Also, inputing this takes alot of time considering how long use on inputing this in Sibelius (added as pfd). What can i do to speed this up? Help and encouragement is much obliged.Images of lilypond and sibelius (reference) outout.http://imgur.com/a/Izl8D .ly attached. 

C-Buschmann-Bad-Eye-Bill.ly
Description: Binary data
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Help with unexpexted double barline trouble and \markup

[Carl-Henrik Buschmann]

I'm working on a lead sheet but being a novice i'm hitting my head against the wall at some noob problems. Bar 1) Stemlets. Do it have to be this hard creating them? Is there a way to make it global? Also, i want the stemlet to reach down towards the rest. How?How do i make custom rehersal marks?When using \markup { ... } the whole score looses it layout and to add insult it does not display any text. I must have done something wrong.Bar 8)Why does the double barline not exend equaly through both staffs?Bar 37)Why does it not show a double bar line?And finally: I feel my score is a mess. How can i clean up/simplify my input? Also, inputing this takes alot of time considering how long use on inputing this in Sibelius (added as pfd). What can i do to speed this up? Help and encouragement is much obliged.Images of lilypond and sibelius (reference) outout.http://imgur.com/a/Izl8D .ly attached. 

C-Buschmann-Bad-Eye-Bill.ly
Description: Binary data


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Re: Help with unexpexted double barline trouble and \markup

[Chris Yate]

On 15 January 2016 at 07:07, Carl-Henrik Buschmann 
wrote:

> I'm working on a lead sheet but being a novice i'm hitting my head against
> the wall at some noob problems.
>
> Bar 1)
> Stemlets. Do it have to be this hard creating them? Is there a way to make
> it global? Also, i want the stemlet to reach down towards the rest. How?
> How do i make custom rehersal marks?
> When using \markup { ... } the whole score looses it layout and to add
> insult it does not display any text. I must have done something wrong.
>
>
1) Stemlets: why do you want to write them like this? Normal quavers are
fine

2) use \mark "A", not \markup "A"


> Bar 8)
> Why does the double barline not exend equaly through both staffs?
>


You've made the lower staff smaller with   \magnifyStaff #5/7, so its
barline will be a different size too.  I've had this with instrumentname
recently (answered on here, it's by design)



> Bar 37)
> Why does it not show a double bar line?
>

I think that's because there's a double bar in the Volta section following,
but I'll concede that's unexpected.


> And finally: I feel my score is a mess. How can i clean up/simplify my
> input?
>

I'd split it into separate files, and pull them together in a master .ly
file using the
/include "music.ily"
command.

I also think barlines on separate lines helps.

So rather than

a4 b c d |
e f g a |

instead

a4 b c d
|
e f g a
|


You can also label bar numbers with comments:

a4 b c d
| %1
e f g a
| %2

but this gets tiresome after a while.


> Also, inputing this takes alot of time considering how long use on
> inputing this in Sibelius (added as pfd). What can i do to speed this up?
> Help and encouragement is much obliged.
>

Well, you need to get fast at your keyboard skills and touch-typing! I
think Lilypond is much faster than manual entry in Sibelius -- using a MIDI
keyboard may be faster but it's also more prone to errors if you're trying
quantized direct music entry.

Chris
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Re: Help with unexpexted double barline trouble and \markup

[Kieren MacMillan]

Hi Carl-Henrik,

> Bar 1) 
> Stemlets. Do it have to be this hard creating them? Is there a way to make it 
> global? Also, i want the stemlet to reach down towards the rest. How?

This may be related to the issue Urs is working on at the moment. In any case, 
I’m sure there are automatic ways to make your preference global.

> How do i make custom rehersal marks?

Did \mark \markup { … } not work for you?

> Bar 8)
> Why does the double barline not exend equaly through both staffs?

That looks like a bug to me: all SpanBars should [IMO] be printed at the 
largest applicable size.

> Bar 37)
> Why does it not show a double bar line?

:
In addition, you can specify ".|:-||", which is equivalent to ".|:" except at 
line breaks, where it gives a double bar line at the end of the line and a 
start repeat at the beginning of the next line.

> And finally: I feel my score is a mess. How can i clean up/simplify my input?

It’s not that messy, to my eye.

But it does seem like a lot of code for such a simple score. For example, I am 
very surprised that you needed to do all that Scheme programming… did \repeat 
percent not work? (I don’t have time to test right now.)

> inputing this takes alot of time considering how long use on inputing this in 
> Sibelius

Now that I’m adept, I find that the input phase for my Lilypond code is about 
75-80% of the input time required when I was a Finale guru, and 50% of the time 
required when I used Sibelius (but admittedly was not a guru).

Where the big time savings comes is in the “tweaking” phase: I figure Lilypond 
requires about 5-10% of the tweaking time that my Finale and Sibelius scores 
did. And now that I know how beautiful computer-engraved scores can actually 
look [because of Lilypond], I would probably spend even more time tweaking 
Finale/Sibelius files if I ever had to use those applications.

Hope this helps and/or encourages!
Kieren.


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


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Re: Help with unexpexted double barline trouble and \markup

[Chris Yate]

On 15 January 2016 at 14:37, Kieren MacMillan  wrote:

> Hi Carl-Henrik,
>
> > Bar 1)
> > Stemlets. Do it have to be this hard creating them? Is there a way to
> make it global? Also, i want the stemlet to reach down towards the rest.
> How?
>
> This may be related to the issue Urs is working on at the moment. In any
> case, I’m sure there are automatic ways to make your preference global.
>

According to the documentation, no...

http://www.lilypond.org/doc/v2.19/Documentation/notation/beams#automatic-beams

"Beams *must* be entered manually if beams are to be extended over rests."

But I have seen a snippet through which you can avoid the slur AND beam in
the following:
a8 ([ b c d ]) a ([ b c d])

I can't remember where I saw it!

Chris
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Re: Help with unexpexted double barline trouble and \markup

[Kieren MacMillan]

Hi Chris,

> According to the documentation, no…
> […]
> But I have seen a snippet through which you can avoid the slur AND beam

That’s what I meant by “there are automatic ways to make your preference 
global”.  ;)
It’s probably a Scheme function/callback.

I hope it gets found!
Kieren.


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


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Re: Markup breaking score, stemlets not behaving, double barlines not showing.

[Kevin Barry]

>
>  i want the stemlet to reach down towards the rest. How?
>

add an override like so:
\override Stem.stemlet-length = 2
(or whatever value you prefer)



> How do i make custom rehersal marks?
> When using \markup { ... } the whole score looses it layout and to add
> insult it does not display any text. I must have done something wrong.
>

You have to replace the "\default" with your \markup {}.


>
> Bar 8)
> Why does the double barline not exend equaly through both staffs?
>

This happens because the lower staff is smaller, so the double bar lines
are closer together. I'm not sure how to fix this off the top of my head.


>
> Bar 37)
> Why does it not show a double bar line?
>

The end of one system and the beginning of another represent the same
moment in time, so you can only specify one barline (you have tried to
specify two with a \break between them, which will not work). You need to
use a barline that specifies both: \bar ".|:-||" should do what you want.


>
> And finally: I feel my score is a mess. How can i clean up/simplify my
> input? Also, inputing this takes alot of time considering how long use on
> inputing this in Sibelius (added as pfd). What can i do to speed this up?
> Help and encouragement is much obliged.
>

I don't have much advice here. You already use some functions and
repeat-unfold to simplify things (although you could use more of the unfold
- for a whole system for example - bar checks are not necessary). I would
probably have placed the layout requirements ( \break, \bar, and so on) in
a global variable with spacer rests, which might have made it easier to
write the bulk of the score with repeat-unfold.

I've attached a version including a few of the fixes
\version "2.19.35"

\header {
  title = "Bad Eye Bill"
  subtitle = "Dr. Hook"
  composer = "C.Buschmann"
  tagline = ""  % removed
}

% Macro to print single slash
rs = {
  \once \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
  \once \override Rest #'thickness = #0.48
  \once \override Rest #'slope = #1.7
  r4
}

% Function to print a specified number of slashes
comp = #(define-music-function (parser location count) ( integer?)
  #{
\override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
\override Rest #'thickness = #0.48
\override Rest #'slope = #1.7
\repeat unfold $count { r4 }
\revert Rest #'stencil
  #}
)


global = {
  \numericTimeSignature
  \time 4/4
  \key a \major
  %\tempo 4=100
}

chordNames = \chordmode {
  \global
  a1
  d2 a
  d a
  b e
  a1
  d2 a
  d a4 fis:m
  b e a2
  
  a1
  d2 a
  d a
  b e:7
  a1
  d2 a
  d a4 fis:m
  b e a2
  
  a1
  d2 a
  d a
  b e:7
  a1
  d2 a
  d a4 fis:m
  b e a1
  
  a1
  d2 a
  d a4 fis:m
  b e a2
  
  a1
  d2 a
  d a
  b e
  a1
  d2 a
  d a4 fis:m
  b e a2
  
  a1
  d2 a
  d a
  b e:7
  a1
  d2 a
  d a4 fis:m
  b e a2
  
  b4 e
  
  a
  
}


upper = \relative c' {
  \global
  \clef treble
  \set Score.markFormatter = #format-mark-box-alphabet
  \mark \markup { \box \bold \fontsize #2 "Intro" \italic \normalsize stildefinisjon } 
  \override Stem.stemlet-length = 2
  r8[ < e a cis >8] r[ < e a cis >] r[ < e a cis >] r[ < e a cis >] |
  r[ < fis a d >] r[ < fis a d >] r[ < e a cis >] r[ < e a cis >] |
  r[ < fis a d >] r < fis a d >] r[ < e a cis >] r[ < e a cis >] |
  r[ < fis b dis >]  r[ < fis b dis >] r[ < gis b e >] r[ < gis b e >] | 
  \break
  r[ < e a cis >] r[ < e a cis >]  r[ < e a cis >] r[ < e a cis >] |
  r[ < fis a d >] r[ < fis a d >] r[ < e a cis >] r[ < e a cis >] |
  r[ < fis a d >] r[ < fis a d >] r[ < e a cis >] r[ < e a cis >] |
  r[ < fis b dis >] r[ < gis b e >]  < a cis e >4 r \bar "||"
  
  \break
  
  \mark \default \comp4 |
  \comp4 |
  \comp4 |
  \comp4 |
  \break
  \comp4 |
  \comp4 |
  \comp4 |
  \rs \rs \rs r4 | \bar "||"
  \break
  \mark \default \comp4 |
  \comp4 |
  \comp4 |
  \comp4 |
  \break
  \comp4 |
  \comp4 |
  \comp4 |
  \time 2/4
  \rs \rs 
  \time 4/4
  \rs r4 r2 | \bar "||"
  \break
  \mark \default \comp4 |
  \comp4 |
  \comp4 |
  \rs \rs \rs r4 | \bar "||"
  \break
  \mark \default \comp4 |
  \comp4 |
  \comp4 |
  \comp4 |
  \break
  \comp4 |
  \comp4 |
  \comp4 |
  \rs \rs \rs r4 | \bar ".|:-||"
  \break
  \repeat volta 2 { 
  \mark \default \comp4 |
  \comp4 |
  \comp4 |
  \comp4 |
  \break
  \comp4 |
  \comp4 |
  \comp4 }
  \alternative{
{ \comp4 }
{ \time 2/4 \rs \rs |  \time 4/4 < a cis a' >-. < b d a' >-. < bis dis a' >8.-. < cis e a >16~ < cis e a >8 < a a' > | }
  }
  \bar "|." 

}

lower = \relative c {
  \global
 \clef bass
  \magnifyStaff #5/7
a4 e' a,8. a16 b8 cis |
d4 a' a,8. a16 a8 ais |
d4 a' a,8. a16 a8 ais |
b4 cis8 d e e fis gis |
a4 e a, e' |
d fis a,8. a16 b8 cis |
d4 a' a,8. a16 fis'8 \override NoteHead.style = #'cross fis' |
\revert NoteHead.style b, fis e b' a4 r | 

}


\layout {

  \context {
\ChordNames
\override ChordName.font-family = #'roman
\override ChordName.font-size = #0
  }
  
}

\score {
  <<
\new Chord

Re: Help with unexpexted double barline trouble and \markup

[Urs Liska]

Am 15.01.2016 um 08:07 schrieb Carl-Henrik Buschmann:
> I'm working on a lead sheet but being a novice i'm hitting my head
> against the wall at some noob problems. 
>
> Bar 1) 
> Stemlets. Do it have to be this hard creating them? Is there a way to
> make it global? Also, i want the stemlet to reach down towards the
> rest. How?

Try
  \override Stem.stemlet-length = 2
play around with the value and see if that's what you want.
> How do i make custom rehersal marks?
> When using \markup { ... } the whole score looses it layout and to add
> insult it does not display any text. I must have done something wrong.

It's not really clear what you want to achieve.
If you want some text instead of the boxed letter you can write
  \mark \markup { Some text or markup commands }

But if you're looking for printing some additional text somewhere then
you have to attach the \markup to some music, like

  r8 -\markup { Some text }

Instead of the hyphen you can also use ^ or _ to force the markup to be
above or below the staff.

>
> Bar 8)
> Why does the double barline not exend equaly through both staffs?

Obviously this is because you have made the lower staff smaller, this
also affects the barlines.
If you look closely you'll see that this also happens to the other barlines.

I'm not sure how to fix that, though. Maybe you can enlarge just the
barlines for the lower staff to revert the effect of \magnifyStaff.
OTOH it may also be that this is an issue that should/could be fixed
with \magnifyStaff (a very new function).

>
> Bar 37)
> Why does it not show a double bar line?
>

I *think* this is because the barline at the end of a line and the one
at the beginning of the next is semantically just one item. So the \bar
".|:" simply overwrites the \bar "||".

Don't know either how to fix, but there are tools to handle how items
are displayed around line breaks.

> And finally: I feel my score is a mess. How can i clean up/simplify my
> input? Also, inputing this takes alot of time considering how long use
> on inputing this in Sibelius (added as pfd). What can i do to speed
> this up? Help and encouragement is much obliged.

What one can say is basically: Be patient and learn. How long did it
take you to get to a state where inputting this in Sibelius takes you
less time? In a way the problem is that learning LilyPond is like
learning a new instrument as an adult. Factually it's not that hard and
progress is not so slow, but you're already used to what you can achieve
with the tools you're familiar with.

Some suggestions for your file.

\comp
is just a rest (as Kieren mentions I'm not sure if you really need the
music function for that).
There's no need to put all those barchecks in this case as it is
completely clear that you *do* have complete measures in between.
So at rehearsal mark B you could equally have written
  \comp31 r4
to reach rehearsal mark C.

Then you should put the manual breaks and the rehearsal marks in a
separate music variable (that is then used in parallel to the music). So
actually what you need in that part of the music (from B to the
beginning of F) would be:

\comp31 r4
\comp28
\time 2/4
\comp2
\time 4/4
\rs r4 r2
\comp15 r4
\comp31 r4

For the repeated written chords you could have made more use of  \repeat
unfold, and/or of the "q" shorthand for repeating the previous pitch/chord.

These are just some hints. If you get familiar with LilyPond input you
can use this kind of techniques and others to simplify the files and
speed the inputting process.
But as Kieren said: speed of music entry is not the primary selling
point of LilyPond.

HTH
Urs

>
> Images of lilypond and sibelius (reference) outout.
> http://imgur.com/a/Izl8D 
>
> .ly attached. 
>
>
>
>
>
>
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Re: Help with unexpexted double barline trouble and \markup

[Urs Liska]

Am 15.01.2016 um 15:37 schrieb Kieren MacMillan:
>> Bar 1) 
>> > Stemlets. Do it have to be this hard creating them? Is there a way to make 
>> > it global? Also, i want the stemlet to reach down towards the rest. How?
> This may be related to the issue Urs is working on at the moment. In any 
> case, I’m sure there are automatic ways to make your preference global.
>

This is related but I won't touch anything for this use case.

As I mentioned somewhere the decision about *what* to beam has been
already done at the stage I'm dealing with.

Urs

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Re: Ossia problem - different timing

[Kevin Barry]

Hi Ralph,

This snippet might help:
http://www.lilypond.org/doc/v2.19/Documentation/snippets/rhythms#rhythms-changing-time-signatures-inside-a-polymetric-section-using-_005cscaledurations

I've attached my version; the only thing I wasn't able to do was get the
spacing on the ossia staves to ignore the others. I don't know how to fix
that.

Kevin

On 15 January 2016 at 13:59, Ralph Palmer  wrote:

> Greetings -
>
> I'm running LilyPond 2.19.33 under Win8.
>
> I have a piece with multiple ossia challenges. I think I'm almost there
> (unless I have to make fundamental changes). I'm attaching what I have so
> far.
>
> There are two changes I need to make. I can provide you with a pdf of what
> I'm looking for, but I'll have to transcribe it by hand. I think an
> explanation should be sufficient; if it's not, please let me know and I'll
> send a hand transcription.
>
> 1) The lower ossia replaces *four* bars in the main grand staff (i.e., the
> last bar line in the lower ossia grand staff needs to line up with the bar
> line ending the fourth bar in the third line of the main grand staff). And
> I would like the spacing of the bars in the lower ossia to look "normal"
> within the ossia itself.
>
> 2) Because the bar lines in the lower ossia will be offset from the bar
> lines in the main grand staff (except for the final one of the ossia), I
> need to eliminate the "span bars" between the main grand staff and the
> lower ossia (again, except for the final one of the ossia). I want to keep
> the span bar dashed.
>
> If both of these are not possible, I at least need to match the three bars
> of the lower ossia to four bars of the main grand staff.
>
> I'm attaching my current .ly file and my current pdf.
>
> Thank you in advance for any help and/or pointers you can provide. Maybe
> we can turn this into a snippet for the LSR.
>
> All the best,
>
> Ralph
>
>
> --
> Ralph Palmer
> Brattleboro, VT
> USA
> palmer.r.vio...@gmail.com
>
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>
% Ossia above and below the staves
\version "2.19.33"

\language "english"
#(set-global-staff-size 20)

upper =
\relative c' {  
  \key g \major
  \clef treble
  \time 4/4

  \override Score.NonMusicalPaperColumn.line-break-permission = ##f
  
  d4^"main staff" d e e |
  d4 d e e |
  d4 d e e |
  d4 d e e |
  d4 d e e |
  \break
  
  d4 d e e |
  d4 d e e |
  d4 d e e |  
  d4 d e e |
  d4 d e e |
  \break
  
  d4 d e e |
  d4 d e e |
  d4 d e e |
  d4 d e e |
  d4 d e e |
  \break  
}

lower =
\relative c' {  
  \key g \major
  \clef treble
  \time 4/4

  \override Score.NonMusicalPaperColumn.line-break-permission = ##f
  
  e4^"lower staff" e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d |
  \break
  
  e4 e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d | 
  e4 e d d |   
  \break
  
  e4 e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d |
  e4 e d d |
  \break
}

upperOssia =
\relative c'' {
  s1*5 |
  d4^"Facilité"_"upper ossia" e f g |
  d4 e f g |
  d4 e f g |
}


lowerOssiaA =
\relative c'' {
  s1*10
  \scaleDurations 4/3 {
  \set Timing.measureLength = #(ly:make-moment 4/3)
  g4^"Facilité"_"lower ossia" a b c
  g4 a b c
  g4 a b c
  }
}

lowerOssiaB =
\relative c'' {
  s1*10
  \scaleDurations 4/3 {
  \set Timing.measureLength = #(ly:make-moment 4/3)
  c4 b a g
  c4 b a g
  c4 b a g
  }
}


% Ossia score

\score {
  \new StaffGroup 
\with {
  \override SpanBar.glyph-name = #"!"
  }
  <<
\new Staff 
\with {
  \remove "Time_signature_engraver"
  fontSize = #-3
  \override StaffSymbol.staff-space = #(magstep -3)
  \override StaffSymbol.thickness = #(magstep -3)
}
<< \upperOssia >>
<<
  \new GrandStaff 
  \with {
\override SpanBar.glyph-name = #"|"
  }
  <<
\new Staff << \upper >>
\new Staff << \lower >>
  >>
>>
<<
  \new GrandStaff 
  \with {
  \override SpanBar.glyph-name = #"|"
}
<<
\new Staff
\with {
  \remove "Time_signature_engraver"
  fontSize = #-3
  \override StaffSymbol.staff-space = #(magstep -3)
  \override StaffSymbol.thickness = #(magstep -3)
  %firstClef = ##f
}
<< \lowerOssiaA >>
\new Staff
\with {
  \remove "Time_signature_engraver"
  fontSize = #-3
  \override StaffSymbol.staff-space = #(magstep -3)
  \override StaffSymbol.thickness = #(magstep -3)
  %firstClef = ##f
}
<< \lowerOssiaB >>
  >>
>>
  >>
  
  \header {
piece = "Ossia : single staff above; grand staff below, with different timing"
  }
  \layout {
\context {
  \Score
  \remove "Timing_translator"
  \remove "Default_bar_line_engraver"
}
\context {
  \Staff \RemoveEmptyStaves
  \override VerticalAxisGroup.remove-first = ##t
   

Re: Help with unexpexted double barline trouble and \markup

[Carl-Henrik Buschmann]

> 
> 15. jan. 2016 kl. 15.32 skrev Chris Yate :
> 
> 
> 
> On 15 January 2016 at 07:07, Carl-Henrik Buschmann  > wrote:
> I'm working on a lead sheet but being a novice i'm hitting my head against 
> the wall at some noob problems. 
> 
> Bar 1) 
> Stemlets. Do it have to be this hard creating them? Is there a way to make it 
> global? Also, i want the stemlet to reach down towards the rest. How?
> How do i make custom rehersal marks?
> When using \markup { ... } the whole score looses it layout and to add insult 
> it does not display any text. I must have done something wrong.
> 
> 
> 1) Stemlets: why do you want to write them like this? Normal quavers are fine
> 

1) My experience is that reading rhythms with the stemlets over the rests helps 
alot. It is a tad "modern" but generally approved. Is there a way to make it 
global? 


> 2) use \mark "A", not \markup "A"
>  

2) Thank you!


> Bar 8)
> Why does the double barline not exend equaly through both staffs?
>  
> 
> You've made the lower staff smaller with   \magnifyStaff #5/7, so its barline 
> will be a different size too.  I've had this with instrumentname recently 
> (answered on here, it's by design)
> 
>  

3) Is it perhaps better do make an ossai staff? I'm a little scared by ossias. 
Seems like a lot of work to get it done. 
> 

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Beamlets when first/last element of a beam is a rest

[Urs Liska]

Hey all,

one more beaming question (I deliberately keep these questions on -user
as I think *user* input is important here):

When the user has requested manual beaming over rests at the end like
  c16 [ c c r ]

(Hi Carl-Henrik ;-) )

what should the beam do at that moment?

If you look at the first two sections/four systems of the attached score
you can see that currently I let there be one beam by default and the
full number of beams when strictBeatBeaming is on. LilyPond's behaviour
so far has been to always print the second version.



There are two things I would like to have here, but unfortunately I
don't see how to implement either of them.

In the default mode I would love to see stemlets over the rests. But
that doesn't seem to work because as soon as there is a stem LilyPond
automatically prints the corresponding beams. Currently I don't see a
way to tell (from within the beaming pattern calculation) whether a stem
belongs to a note or to a rest, all I know is if the stem is visible or not.

The other thing I would like to see is that when the beamlets are
printed (with strictBeatBeaming) they would be printed as beamlets (so
the outermost stem goes to the end and secondary beamlets are shorter
and thinner. But obviously LilyPond automatically prints them as beams
that go right to the non-present stem.


But my main question at this point is whether the behaviour with the
one/multiple beams depending on strictBeatBeaming is appropriate.

Urs

PS
Please ignore the lower sections. There are several issues with rests
under beams that haven't been tackled yet.


rests-under-beams.pdf
Description: Adobe PDF document
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Re: Help with unexpexted double barline trouble and \markup

[Chris Yate]

On 15 January 2016 at 15:58, Carl-Henrik Buschmann 
wrote:

>
> 15. jan. 2016 kl. 15.32 skrev Chris Yate :
>
>
>
> On 15 January 2016 at 07:07, Carl-Henrik Buschmann 
> wrote:
>
>> I'm working on a lead sheet but being a novice i'm hitting my head
>> against the wall at some noob problems.
>>
>> Bar 1)
>> Stemlets. Do it have to be this hard creating them? Is there a way to
>> make it global? Also, i want the stemlet to reach down towards the rest.
>> How?
>> How do i make custom rehersal marks?
>> When using \markup { ... } the whole score looses it layout and to add
>> insult it does not display any text. I must have done something wrong.
>>
>>
> 1) Stemlets: why do you want to write them like this? Normal quavers are
> fine
>
> 1) My experience is that reading rhythms with the stemlets over the rests
> helps alot. It is a tad "modern" but generally approved. Is there a way to
> make it global?
>

I'd agree that's the case for rhythms like ` a16 [ r b c ] d [ r c b ] `
but I don't *think* I've ever seen quavers written as you have done ` r8 [
a ] r [ b ] ` in commercial printed music. Just looks strange to me, but I
appreciate you want it a certain way and that's fine.

As for making it global, I don't know of a way, but I am sure it's possible
to write a function to make it happen. Not my expertise unfortunately.

Chris
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Re: Help with unexpexted double barline trouble and \markup

[Simon Albrecht]

On 15.01.2016 16:58, Carl-Henrik Buschmann wrote:
1) My experience is that reading rhythms with the stemlets over the 
rests helps alot. It is a tad "modern" but generally approved. Is 
there a way to make it global? 


No problem: just insert

\context {
\Voice
\override Stem.stemlet-length = 2
  }

into any layout block, e.g. alongside with the tweaks for \ChordNames.

HTH, Simon

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Re: Help with unexpexted double barline trouble and \markup

[Urs Liska]

Am 15.01.2016 um 17:46 schrieb Simon Albrecht:
> On 15.01.2016 16:58, Carl-Henrik Buschmann wrote:
>> 1) My experience is that reading rhythms with the stemlets over the
>> rests helps alot. It is a tad "modern" but generally approved. Is
>> there a way to make it global? 
>
> No problem: just insert
>
> \context {
> \Voice
> \override Stem.stemlet-length = 2
>   }
>
> into any layout block, e.g. alongside with the tweaks for \ChordNames.

No, that's not what he needs.
The question is to automatically extend the beam itself over the rest.

Urs

>
> HTH, Simon
>
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Re: Help with unexpexted double barline trouble and \markup

[Simon Albrecht]

On 15.01.2016 17:50, Urs Liska wrote:

Am 15.01.2016 um 17:46 schrieb Simon Albrecht:

On 15.01.2016 16:58, Carl-Henrik Buschmann wrote:

1) My experience is that reading rhythms with the stemlets over the
rests helps alot. It is a tad "modern" but generally approved. Is
there a way to make it global?

No problem: just insert

\context {
 \Voice
 \override Stem.stemlet-length = 2
   }

into any layout block, e.g. alongside with the tweaks for \ChordNames.

No, that's not what he needs.
The question is to automatically extend the beam itself over the rest.


Ah, that’s the reason. Sorry for the misconception.

Best, Simon

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Programmatically building music-function names

[Chris Yate]

Hi,

I'm trying to typeset a number of short pieces into multiple scores in one
file. I can do this manually, as:

```
musicOne = \relative c'' { g4 a b c }
musicTwo = \relative c'' { g4 a b c }

\score {
 \musicOne
}

\score {
  \musicTwo
}
```

However, there's a lot more common stuff in my real \score block, which
means this approach gets very tedious. What I'm trying to do instead looks
like:


```
printTheScore =
#(define-music-function
 (parser location number )
 (string? )
#{
\score {
 \music#number
}
#})

\printTheScore "One"
\printTheScore "Two"
```

This doesn't work; my substitution syntax is clearly wrong here, but I'd be
interested to see if there's a way to do it.  Or does the way the code is
parsed mean music functions can't be referenced in this way?

I've attached a ly file including the code I've pasted here.

thanks,

Chris
\version "2.19.35"

musicOne = \relative c'' { g4 a b c }
musicTwo = \relative c'' { g4 a b c }

% Manually create all scores

\score {  
 \musicOne
}

\score { 
  \musicTwo
}

% Programmatically create scores?

printTheScore = 
#(define-music-function
 (parser location number )
 (string? )
#{ 
\score {
 \music#number
}
#})

\printTheScore "One"
\printTheScore "Two"
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Re: Programmatically building music-function names

[David Kastrup]

Chris Yate  writes:

> Hi,
>
> I'm trying to typeset a number of short pieces into multiple scores in one
> file. I can do this manually, as:


> This doesn't work; my substitution syntax is clearly wrong here, but
> I'd be interested to see if there's a way to do it.  Or does the way
> the code is parsed mean music functions can't be referenced in this
> way?

A score is not music.

And you cannot splice identifiers like

\music#number

That's just nonsensical.  Try something like

\version "2.19.35"

musicOne = \relative c'' { g4 a b c }
musicTwo = \relative c'' { g4 a b c }

% Manually create all scores

\score {  
 \musicOne
}

\score { 
  \musicTwo
}

% Programmatically create scores?

printTheScore = 
#(define-scheme-function (number) (string?)
#{ 
\score {
  $(module-ref (current-module)
(string->symbol (format "music~a" number)))
}
#})

\printTheScore "One"
\printTheScore "Two"


-- 
David Kastrup
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update objects

[Luca Danieli]

Hello,
May I ask where I can find information about or how can I update objects in 
lilypond in ubuntu?I have specifically to update the object arrowGlyphs but I 
am unable to find this specific information on internet.
Can someone give me a hint?
Luca

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Re: Programmatically building music-function names

[Caio Giovaneti de Barros]

On 15-01-2016 15:06, Chris Yate wrote:

 What I'm trying to do instead looks like:


```
printTheScore =
#(define-music-function
 (parser location number )
 (string? )
#{
\score {
 \music#number
}
#})

\printTheScore "One"
\printTheScore "Two"
```


Maybe something like this... but If I uncomment the \score block it 
doesn't work


musicOne = { c' d' e' }

musicTwo = { e' f' g' }


printTheScore = #(define-music-function (parser location number) (string?)

(let* ((number number) (function (string->symbol (string-append "music" 
number


#{

%\score {

#(eval function (interaction-environment))

%

#}))


\printTheScore "One"

\printTheScore "Two"


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Re: Programmatically building music-function names

[Urs Liska]

Am 15.01.2016 um 18:06 schrieb Chris Yate:
> Hi, 
> 
> I'm trying to typeset a number of short pieces into multiple scores in
> one file. I can do this manually, as:
> ...
> 
> I've attached a ly file including the code I've pasted here.
> 
> thanks, 
> 
> Chris
> 

Hi Chris,

I think (if I didn't misunderstand you) you can achieve what you want
very easily, without any Scheme.

file: score.ily

\score {
  \new Staff \myMusic
}


###
file: music-1.ily

myMusic = { c' }

###
file: music-2.ily

myMusic = { d' }

###
file: my-score.ly

\include "music-1.ily"
\include "score.ily"
\include "music-2.ily"
\include "score.ily"

##

The idea is that the score expects a certain music variable, and every
time you include that score block it will take what is currently
attached to that name.

You can also take a slightly different approach that *may* be helpful in
more complex situations:

Take the same score.ily and then write

musicOne = { c' }
musicTwo = { c' }

myMusic = \musicOne
\include "score.ily"

myMusic = \musicTwo
\include "score.ily"

You can use that assignment (myMusic = ...) to compose the music
variables for the score block. Such an adaptor pattern can be handy for
supporting different transpositions, for example.

HTH
Urs


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Re: update objects

[David Nalesnik]

Hi Luca,

On Fri, Jan 15, 2016 at 11:29 AM, Luca Danieli 
wrote:

> Hello,
>
> May I ask where I can find information about or how can I update objects
> in lilypond in ubuntu?
> I have specifically to update the object arrowGlyphs but I am unable to
> find this specific information on internet.
>
> Can someone give me a hint?
>
>
"arrowGlyphs" is not actually part of LilyPond.  It appears to be a custom
definition from an LSR snippet found here:
http://lsr.di.unimi.it/LSR/Snippet?id=786

How are you wanting to update it?

David
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unterminated tie

[Mark Stephen Mrotek]

Hello:

 

I cannot find the "unterminated tie" in the following measures.

 

r4 q2 | r4 2 | q2. |

r4 2 | r4 2 | % this line highlighted.

2. ( | ) |

 

When compiled the notation is correct.

 

Any help from sharper eyes is greatly appreciated.

 

Thank you!

 

Mark

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Re: unterminated tie

[Nathan Ho]

On 2016-01-15 11:49, Mark Stephen Mrotek wrote:

Hello:

I cannot find the "unterminated tie" in the following measures.

 r4 q2 | r4 2 | q2. |

 r4 2 | r4 2 | % this line highlighted.


Hi Mark,

Check your octaves on the f. If you're in relative mode, the second f on 
this line ends up an octave higher. If you're in absolute mode, f is of 
course an octave lower than f'.



Nathan

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Re: unterminated tie

[Malte Meyn]

Am 15.01.2016 um 20:49 schrieb Mark Stephen Mrotek:
> r4 q2 | r4 2 | q2. |
> 
> r4 2 | r4 2 | % this line highlighted.
> 
> 2. ( | ) |

Please give a complete example; I see two possible reasons (maybe there
are more) but can’t tell more from this incomplete code.

1. You are in absolute mode (instead of relative) => two different notes
f' and f cannot be tied.
2. You didn’t set tieWaitForNote to ##t => ties cannot cross rests by
default.

Btw, you can tie chords with just one single tilde:

~ 

This will tie the fs and aess but not the ces and bes.

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Re: Programmatically building music-function names

[Chris Yate]

On 15 Jan 2016 17:26, "David Kastrup"  wrote:
>
> Chris Yate  writes:
>
> > Hi,
> >
> > I'm trying to typeset a number of short pieces into multiple scores in
one
> > file. I can do this manually, as:
>
>
> > This doesn't work; my substitution syntax is clearly wrong here, but
> > I'd be interested to see if there's a way to do it.  Or does the way
> > the code is parsed mean music functions can't be referenced in this
> > way?
>
> A score is not music.
>
> And you cannot splice identifiers like
>
> \music#number
>
> That's just nonsensical.  Try something like
> --
> David Kastrup

Thanks David (and Caio too for your suggestion), that's the syntax I was
looking for. Basically, forming a symbol by concatenation and to have it
evaluated in the input file.

However, for its simplicity I think I probably prefer Urs's method, even if
it makes the input file a bit longer.

Chris
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RE: unterminated tie

[Mark Stephen Mrotek]

Nathan,

Thank you for your reply and the observation. I did not mention that the
second f is after a clef change - bass to treble - so the ' is necessary.

Since it compiles correctly, perhaps it is just a "glitch" in the program.

Mark

-Original Message-
From: Nathan Ho [mailto:nat...@snappizz.com] 
Sent: Friday, January 15, 2016 11:53 AM
To: Mark Stephen Mrotek 
Cc: 'Lilypond-User Mailing List' ;
lilypond-user-bounces+nathan=snappizz@gnu.org
Subject: Re: unterminated tie

On 2016-01-15 11:49, Mark Stephen Mrotek wrote:
> Hello:
> 
> I cannot find the "unterminated tie" in the following measures.
> 
>  r4 q2 | r4 2 | q2. |
> 
>  r4 2 | r4 2 | % this line highlighted.

Hi Mark,

Check your octaves on the f. If you're in relative mode, the second f on
this line ends up an octave higher. If you're in absolute mode, f is of
course an octave lower than f'.


Nathan


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RE: unterminated tie

[Nathan Ho]

On 2016-01-15 12:26, Mark Stephen Mrotek wrote:

Nathan,

Thank you for your reply and the observation. I did not mention that 
the
second f is after a clef change - bass to treble - so the ' is 
necessary.


Since it compiles correctly, perhaps it is just a "glitch" in the 
program.




Hi Mark,

Clef changes do not affect pitch; they only change the way pitches are 
displayed. Are you trying to engrave a cross-clef tie? If so, this 
snippet might help you: http://lsr.di.unimi.it/LSR/Item?id=326


But I can only grasp at straws here. As Malte pointed out, your example 
isn't complete.



Nathan

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Re: Help with unexpexted double barline trouble and \markup

[Thomas Morley]

2016-01-15 15:37 GMT+01:00 Kieren MacMillan :
> Hi Carl-Henrik,

>> Bar 8)
>> Why does the double barline not exend equaly through both staffs?
>
> That looks like a bug to me: all SpanBars should [IMO] be printed at the 
> largest applicable size.

Well, then it's by design, because `magnifyStaff' affects
BarLine.kern/segno-kern/hair-thickness/thick-thickness explicitely.
This is desireable for standalone staves, ofc

In this light we should do a fix as you suggested: "all [Bars and]
SpanBars should be printed at the largest applicable size", not sure
where/how to fix it, though.
Or we shouldn't point users in the NR to use it in a score with
different sizes at all (only for ossia-examples) and/or add a remark
about "known issues", maybe with the first workaround below.

Two workarounds:
(1)
Set your own BarLine.kern:

m = { c'1 \bar "||" }

\score {
  \new StaffGroup
  <<
\new Staff \with {
  \magnifyStaffs #7/4
  \override BarLine.kern = #3
}
  \m
\new Staff \with {
  \magnifyStaffs #1
  \override BarLine.kern = #3
}
  \m
\new Staff \with {
  \magnifyStaffs #4/7
  \override BarLine.kern = #3
}
  \m
  >>
}


(2)
Use `staffSize' from
http://lsr.di.unimi.it/LSR/Item?id=862
instead:

staffSize = #(define-music-function (parser location new-size) (number?)
  #{
\set fontSize = #new-size
\override StaffSymbol.staff-space = #(magstep new-size)
\override StaffSymbol.thickness = #(magstep new-size)
  #})

m = { c'1 \bar "||" }

\new StaffGroup
<<
  \new Staff \with { \staffSize #6 }
\m
  \new Staff \with { \staffSize #0 }
\m
  \new Staff \with { \staffSize #-6 }
\m
>>

HTH,
  Harm

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RE: unterminated tie

[Mark Stephen Mrotek]

Nathan and others,

Thank you for the suggestions. I found the error - a tie over a rest.

Mark

-Original Message-
From: Nathan Ho [mailto:nat...@snappizz.com] 
Sent: Friday, January 15, 2016 1:04 PM
To: Mark Stephen Mrotek 
Cc: 'Lilypond-User Mailing List' ;
lilypond-user-bounces+nathan=snappizz@gnu.org
Subject: RE: unterminated tie

On 2016-01-15 12:26, Mark Stephen Mrotek wrote:
> Nathan,
> 
> Thank you for your reply and the observation. I did not mention that 
> the second f is after a clef change - bass to treble - so the ' is 
> necessary.
> 
> Since it compiles correctly, perhaps it is just a "glitch" in the 
> program.
> 

Hi Mark,

Clef changes do not affect pitch; they only change the way pitches are
displayed. Are you trying to engrave a cross-clef tie? If so, this snippet
might help you: http://lsr.di.unimi.it/LSR/Item?id=326

But I can only grasp at straws here. As Malte pointed out, your example
isn't complete.


Nathan


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Re: Outliner markup command

[Thomas Morley]

2016-01-13 22:14 GMT+01:00 Thomas Morley :
> 2016-01-13 16:17 GMT+01:00 Paul Morris :
>>> On Jan 12, 2016, at 6:09 PM, Thomas Morley  wrote:
>>>
>>> Though, there might be a bug in `stencil-whiteout-outline', Paul cc-ed.
>>>
>>> Look at:
>>>
>>> \markup \stencil
>>> #(stencil-whiteout-outline
>>>  (make-filled-box-stencil '(-1 . 1) '(-1 . 1))
>>>  0.5
>>>  red
>>>  16
>>>  1)
>>>
>>> \markup \stencil
>>> #(stencil-whiteout-outline
>>>  (stencil-with-color (make-filled-box-stencil '(-1 . 1) '(-1 . 1)) green)
>>>  0.5
>>>  red
>>>  16
>>>  1)
>>>
>>> First one is ok.
>>> But in the second one the color from the stencil is taken (green) and
>>> the specified (red) is ignored.
>>> Will investigate more detailed the upcoming days.
>>
>> Huh, that’s odd…  stencil-whiteout-box works as expected (see below), so the 
>> problem must indeed be in stencil-whiteout-outline.
>>
>> -Paul
>
> Yep.
>
> In this part of the code for stencil-whiteout-outline you try to apply
> a color to a stencil, which is derived from the original one,
>
> (ly:stencil-expr
>  (stencil-with-color
>   (radial-plot thickness stil empty-stencil)
>   color))
>
> Though, if this original stencil is colored already, it will fail.
> See:
>
> #(define my-box-stil (make-filled-box-stencil '(-1 . 1) '(-1 . 1)))
>
> \markup {
>   \stencil #my-box-stil
>   \stencil #(stencil-with-color my-box-stil green)
>   \stencil #(stencil-with-color (stencil-with-color my-box-stil green) red)
>  }
>
> Thinking about it, I came to the conclusion it's desired behaviour.
> Otherwise the following wouldn't work:
>
> \markup \with-color #red { foo \with-color #green bar buzz }
>
> So far the reason, now looking forward to make it work anyway.
>
>
> Cheers,
>   Harm

The only way I've found, is to delete all color-settings from the stencil-expr.
Anyone with a better idea?

Below you'll find what I did.
Fixes `stencil-whiteout-outline' by applying newly defined `uncolor-stencil'
Also adding `outliner'-markup-command

\version "2.18.2"  %% sic !!

#(define (lists-map function ls)
"Apply @var{function} to @var{ls} and all of it sublists.

First it recurses over the children, then the function is applied to
@var{ls}."
(if (list? ls)
(set! ls (map (lambda (y) (lists-map function y)) ls))
ls)
(function ls))

#(define (uncolor-stencil stil)
"Delete colors from stencil @var{stil}"
  (let* ((x-ext (ly:stencil-extent stil X))
 (y-ext (ly:stencil-extent stil Y))
 (stil-expr (ly:stencil-expr stil))
 (get-caddr-if-condition
   (lambda (e)
 (if (and (list? e) (member 'color e))
 ;; the stencil-expr of a colored stencil is of type
 ;; (list 'color (list r g b) (list rest-of-stencil-expr))
 ;; Thus we can be sure that (caddr e) is valid
 ;; Even for an empty-stencil it evaluates to '()
 (caddr e)
 e
 (ly:make-stencil
   (lists-map get-caddr-if-condition stil-expr)
   x-ext
   y-ext)))

#(define*-public (stencil-whiteout-outline
 stil #:optional (thickness 0.3) (color white)
 (angle-increments 16) (radial-increments 1))
  "This function works by creating a series of white or @var{color}
stencils radially offset from the original stencil with angles from
0 to 2*pi, at an increment of @code{angle-inc}, and with radii
from @code{radial-inc} to @var{thickness}.  @var{thickness} is how big
the white outline is, as a multiple of line-thickness.
@var{radial-increments} is how many copies of the white stencil we make
on our way out to thickness.  @var{angle-increments} is how many copies
of the white stencil we make between 0 and 2*pi."
  (if (or (not (positive? angle-increments))
  (not (positive? radial-increments)))
  (begin
   (ly:warning "Both angle-increments and radial-increments must
be positive numbers.")
   stil)
  (let* ((2pi 6.283185307)
 (angle-inc (/ 2pi angle-increments))
 (radial-inc (/ thickness radial-increments)))

(define (circle-plot ang dec radius original-stil new-stil)
  ;; ang (angle) and dec (decrement) are in radians, not degrees
  (if (<= ang 0)
  new-stil
  (circle-plot (- ang dec) dec radius original-stil
(ly:stencil-add
 new-stil
 (ly:stencil-translate original-stil
   (cons
(* radius (cos ang))
(* radius (sin ang

(define (radial-plot radius original-stil new-stil)
  (if (<= radius 0)
  new-stil
  (ly:stencil-add new-stil
(radial-plot
 (- radius radial-inc)
 original-stil
 (circle-plot 2pi angle-inc
   radius original-stil empty-stencil)

(let ((white

Alignment of ‘non-extremal’ bass figures

[Simon Albrecht]

Hello,

does anyone know how to vertically align the 9 and 8 in the following 
example?


\version "2.19.35"
\score {
  <<
{ s1 }
\figures {
  <10 9>4  <8>
}
  >>
}

TIA, Simon
\version "2.19.35"
\score {
  <<
{ s1 }
\figures {
  <10 9>4  <8>
}
  >>
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Re: Alignment of ‘non-extremal’ bass figures

[Simon Albrecht]

On 16.01.2016 00:44, Simon Albrecht wrote:

Hello,

does anyone know how to vertically align the 9 and 8 in the following 
example?


\version "2.19.35"
\score {
  <<
{ s1 }
\figures {
  <10 9>4  <8>
}
  >>
}


Forgot to mention: I already tried <\markup\strut 8> (which is 
counterproductive!), <\markup\vspace #2 8> (which doesn’t make any 
difference) and <\markup " " 8> (which makes a slight difference, but in 
no relation to the height of the digits).


Yours, Simon

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Re: Behavior of non-flag side with strictBeatBeaming

[Werner LEMBERG]

> Am I right that you want a solution that prints exactly one beam less
> than the neighboring stem with the least beams.

Yes, since this looks quite natural to me (well, as far as something
in your constructed example can look natural at all).


Werner

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