Fw: Solution for: new Staff staff-staff-spacing (down AND up) regarding only one single system

[musicus]

-- Weitergeleitete Nachricht --
Von: "musicus" 
An: kieren_macmil...@sympatico.ca
Gesendet: 16.01.2016 21:43:55
Betreff: Solution for: new Staff staff-staff-spacing (down AND up) 
regarding only one single system


Hi all,

After i tried Kieren's suggestion (absolute system positioning) and 
didn't get reliable results (if page layout changes, you have to adjust 
the settings) i got lucky and found an IMO reasonable way to achieve my 
wanted "reduced spacing regarding inserted staff".


See attached.

Basically you replace the upper Staff with a new one for one line and 
assign a custom spacing number to it.
The only limitation is, that you have to set manual line breaks for the 
specific system.


Hope this will help others.

Best Regards,
musicus\version "2.19.34"

\paper {
  system-system-spacing.padding = 8
  paper-width = 10\cm
}

\layout {
  \context {
\Staff \RemoveEmptyStaves
  }
  \context {
\GrandStaff
\override VerticalAxisGroup.staff-staff-spacing.padding = 5
  }
}

\score {
  \new GrandStaff
  <<
\new Staff = "one" \relative c'' {
  a a a a
  \break
  \new Staff = "workaround" \with {
alignAboveContext = "two"
\override VerticalAxisGroup.staff-staff-spacing.padding = 1
  }{
a a
<<
  { a a }
  \new Staff = "middle" \with {
\override VerticalAxisGroup.staff-staff-spacing.padding = 1
alignAboveContext = "two"
alignBelowContext = "workaround"
  }{
a a
  }
>>
  }
  \break
  a a a a
}
\new Staff = "two" {
  a a a a
  a a a a
  a a a a
}
  >>
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Instrument names and smallest possible bounding box

[Carl-Henrik Buschmann]

1) Instrument names. 

The default placement of instrument names seems a bit messy compared to my 
default Sibelius output:



Lilypond:

They seem "off", not alligned properly. This is of course the fault of the 
author. Most likely there is a easy fix. Suggestions?

2) I need to export pngs for my latex documents and i would like the bounding 
box to be as small as possible. How do i do this?

Code:
> \version "2.19.35"
> 
> %---
> % Global variables
> %---
> global = {
>   \time 4/4
>   \key c \major
> }
> 
> 
> %---
> % Music
> %---
> NRT = \relative c' {
>   \global
>   \clef \treble
>   \hideNotes
>   c d e 
> }
> 
> high = \relative c' {
>   \global
>   \clef \treble
>   \hideNotes
>   c d e
> }
> 
> low = \relative c {
>   \global
>   \clef \bass
>   \hideNotes
>   c d e
> }
> 
> 
> 
> %---
> % Score
> %---
> \score {
> <<
> \new Staff { \NRT }
>   \set Staff.instrumentName = "Analysis"
>   
> \new GrandStaff <<
>   \set GrandStaff.instrumentName = "Woodwind" 
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> 
> \new GrandStaff <<
>   \set GrandStaff.instrumentName = "Brass" 
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> 
> \new GrandStaff <<
>   \set GrandStaff.instrumentName = "Strings" 
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> 
> \new GrandStaff <<
>   \set GrandStaff.instrumentName = \markup \right-column {
> "Piano"
> "Aux."
>   }
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> 
> 
>   
> >>
> }
> 
> %---
> % Layout and stuff i dont understand yet
> %---
> \layout {
>   
>  \context {
>\Score
>timing = ##f
>  }
>  \context {
>\Staff
>\remove "Time_signature_engraver"
>  }
> }

Med vennlig hilsen,
Carl-Henrik Buschmann
Lektor

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Re: Instrument names and smallest possible bounding box

[Simon Albrecht]

On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
The default placement of instrument names seems a bit messy compared 
to my default Sibelius output.
They seem "off", not alligned properly. This is of course the fault of 
the author. Most likely there is a easy fix. Suggestions?


Well, it’s not your fault: the instrument names are center-aligned by 
default. To right-align them, use


\layout {
  \context {
\StaffGroup % or Staff, or GrandStaff, or ChoirStaff…
\override InstrumentName.self-alignment-X = 1
  }
}

Yours, Simon

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Re: smallest possible bounding box

[Simon Albrecht]

On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:


2) I need to export pngs for my latex documents and i would like the 
bounding box to be as small as possible. How do i do this?


It’s not quite clear what you want. Perhaps:
\paper {
  top-margin = 0
  bottom-margin = 0
  left-margin = 0
  right-margin = 0
}
?

Best, Simon

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Re: Instrument names and smallest possible bounding box

[Malte Meyn]

Am 17.01.2016 um 12:10 schrieb Carl-Henrik Buschmann:
> 
> 1) Instrument names.
> 
> The default placement of instrument names seems a bit messy compared to my 
> default Sibelius output:
> 
> 
> Lilypond:
> They seem "off", not alligned properly. This is of course the fault of the 
> author. Most likely there is a easy fix. Suggestions?

LilyPond tries to center-align the instrument names. Long names which
don’t fit into the margin defined by indent (default 1.5cm (?)) are
right-aligned (“Woodwind” in your example). This “mixing” behaviour
looks odd, I agree. You can make the indent bigger so all names are
center-aligned or change the alignment of instrument names globally;
here are both solutions (they also can be combined):


\version "2.19.35"

\paper {
  %indent = 1.8\cm % short center-aligned (in this margin), long right
  %indent = 3.5\cm % both center-aligned
}

%{
\layout {
  \context {
\Staff
\override InstrumentName.self-alignment-X = #RIGHT
  }
}
%}

<<
  \new Staff \with {
instrumentName = "very long name"
  } { R1 \break R1 }
  \new Staff \with {
instrumentName = "short"
  } { R1 \break R1 }
>>


> 
> 2) I need to export pngs for my latex documents and i would like the bounding 
> box to be as small as possible. How do i do this?
> 

There is a lilypond option -dpreview which does this iirc. And apart
from that: Do you know lilypond-book?

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Re: Instrument names and smallest possible bounding box

[Carl-Henrik Buschmann]

> 17. jan. 2016 kl. 12.24 skrev Malte Meyn :
>> 
>> 2) I need to export pngs for my latex documents and i would like the 
>> bounding 
>> box to be as small as possible. How do i do this?
>> 
> 
> There is a lilypond option -dpreview which does this iirc. And apart
> from that: Do you know lilypond-book?

No, i do not. 


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Re: smallest possible bounding box

[Carl-Henrik Buschmann]

> 17. jan. 2016 kl. 12.22 skrev Simon Albrecht :
> 
> On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
>> 
>> 2) I need to export pngs for my latex documents and i would like the 
>> bounding box to be as small as possible. How do i do this?
> 
> It’s not quite clear what you want. Perhaps:
> \paper {
>  top-margin = 0
>  bottom-margin = 0
>  left-margin = 0
>  right-margin = 0
> }
> ?
> 
> Best, Simon

When making snippets I dont need the entire A4 paper, i just need the music. 
The bounding box is the area exported, or cropped if you like. In Sibelius i 
can check a box and it eliminates all unnecessary white space.
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Re: Instrument names and smallest possible bounding box

[mskala]

On Sun, 17 Jan 2016, Carl-Henrik Buschmann wrote:
> 2) I need to export pngs for my latex documents and i would like the
> bounding box to be as small as possible. How do i do this?

I don't know how well this fits into your workflow, but I'd be inclined to
trim the images after export using pnmcrop, automated by a Makefile
recipe.  Probably simpler than trying to get Lilypond to resize its "page"
to fit the material.  If you were exporting in a vector format, the
trimming operation might be harder, but trimming off white borders on
a PNG file is easy.

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/

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Re: smallest possible bounding box

[Pierre Perol-Schneider]

Hi Carl-Henrik,

Simply defined the 'paper' dimension you'd like :

\paper {
  paper-height = 150
  paper-width = 50
}

E.g. :

\version "2.19.35"

%---
% Global variables
%---
global = {
  \time 4/4
  \key c \major
}

%---
% Music
%---
NRT = \relative {
  \global
  \clef G
  \hideNotes
  c' d e
}

high = \relative {
  \global
  \clef G
  \hideNotes
  c' d e
}

low = \relative {
  \global
  \clef F
  \hideNotes
  c d e
}

%---
% Score
%---

\paper {
  paper-height = 150
  paper-width = 50
  top-margin = 0
  bottom-margin = 0
  left-margin = 0
  right-margin = 0
  indent = 22
}

\header {
  tagline = ""
}

\score {
  <<
\new Staff \with { instrumentName = "Analysis" }
  { \NRT }
\new GrandStaff \with { instrumentName = "Woodwind" } <<
  \new Staff { \high }
  \new Staff { \low }
>>
\new GrandStaff \with { instrumentName = "Brass" } <<
  \new Staff { \high }
  \new Staff { \low }
>>
\new GrandStaff \with { instrumentName = "Strings" } <<
  \new Staff { \high }
  \new Staff { \low }
>>
\new GrandStaff \with {
  instrumentName = \markup \right-column {
"Piano"
"Aux."
}
  } <<
  \new Staff { \high }
  \new Staff { \low }
>>
  >>

%---
% Layout
%---
  \layout {
\context {
  \Score
  timing = ##f
}
\context {
  \GrandStaff
  \override InstrumentName.self-alignment-X = #RIGHT %% or 1
}
\context {
  \Staff
  \omit TimeSignature
  \override InstrumentName.self-alignment-X = #RIGHT %% or 1
}
  }
}


HTH,
Pierre

2016-01-17 12:30 GMT+01:00 Carl-Henrik Buschmann :

> > 17. jan. 2016 kl. 12.22 skrev Simon Albrecht :
> >
> > On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
> >>
> >> 2) I need to export pngs for my latex documents and i would like the
> bounding box to be as small as possible. How do i do this?
> >
> > It’s not quite clear what you want. Perhaps:
> > \paper {
> >  top-margin = 0
> >  bottom-margin = 0
> >  left-margin = 0
> >  right-margin = 0
> > }
> > ?
> >
> > Best, Simon
>
> When making snippets I dont need the entire A4 paper, i just need the
> music. The bounding box is the area exported, or cropped if you like. In
> Sibelius i can check a box and it eliminates all unnecessary white space.
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> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: smallest possible bounding box

[Carl-Henrik Buschmann]

Good suggestion. This of course works fine but it means manual labor and 
guessing.  What is the point of a computer if it cannot do this for us? 

I tried -dpreview but could not get it to work. Help a poor noob, please. 


> Den 17. jan. 2016 kl. 12.49 skrev Pierre Perol-Schneider 
> :
> 
> Hi Carl-Henrik,
> 
> Simply defined the 'paper' dimension you'd like :
> 
> \paper {
>   paper-height = 150
>   paper-width = 50
> }
> 
> E.g. :
> 
> \version "2.19.35"
> 
> %---
> % Global variables
> %---
> global = {
>   \time 4/4
>   \key c \major
> }
> 
> %---
> % Music
> %---
> NRT = \relative {
>   \global
>   \clef G
>   \hideNotes
>   c' d e 
> }
> 
> high = \relative {
>   \global
>   \clef G
>   \hideNotes
>   c' d e
> }
> 
> low = \relative {
>   \global
>   \clef F
>   \hideNotes
>   c d e
> }
> 
> %---
> % Score
> %---
> 
> \paper {
>   paper-height = 150
>   paper-width = 50
>   top-margin = 0
>   bottom-margin = 0
>   left-margin = 0
>   right-margin = 0
>   indent = 22
> }
> 
> \header {
>   tagline = ""
> }
>  
> \score {
>   <<
> \new Staff \with { instrumentName = "Analysis" }
>   { \NRT }
> \new GrandStaff \with { instrumentName = "Woodwind" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { instrumentName = "Brass" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { instrumentName = "Strings" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { 
>   instrumentName = \markup \right-column {
> "Piano"
> "Aux."
> }
>   } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
>   >>
> 
> %---
> % Layout 
> %---
>   \layout {
> \context {
>   \Score
>   timing = ##f
> }
> \context {
>   \GrandStaff
>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
> }
> \context {
>   \Staff
>   \omit TimeSignature
>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
> }
>   }
> }
> 
> 
> HTH,
> Pierre
> 
> 2016-01-17 12:30 GMT+01:00 Carl-Henrik Buschmann :
>> > 17. jan. 2016 kl. 12.22 skrev Simon Albrecht :
>> >
>> > On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
>> >>
>> >> 2) I need to export pngs for my latex documents and i would like the 
>> >> bounding box to be as small as possible. How do i do this?
>> >
>> > It’s not quite clear what you want. Perhaps:
>> > \paper {
>> >  top-margin = 0
>> >  bottom-margin = 0
>> >  left-margin = 0
>> >  right-margin = 0
>> > }
>> > ?
>> >
>> > Best, Simon
>> 
>> When making snippets I dont need the entire A4 paper, i just need the music. 
>> The bounding box is the area exported, or cropped if you like. In Sibelius i 
>> can check a box and it eliminates all unnecessary white space.
>> ___
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>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
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RE: Lyrics for additional verses in LilyPond?

[Dirk Klamer]

Hi all,

An other way of using lyrics in music: 2 voices and 3 verses in one system:
\header {
  title = "Psalm 030: 1, 2 en 3"
  subtitle = "Ludolf Dalhuisen"
  %  composer = "Psalm 76: 1, 2, 3 en 4"
  
  % The following fields are centered at the bottom
  tagline = "StudieProgramma Dirk Klamer; Muziek notaties Bovenstem - Datum:
mrt-2015"
}

\include "nederlands.ly"

\paper { 
  %  indent = 2\cm
  %  linewidth = 190.0\mm
  page-count = #1
  right-margin = 1\cm
  left-margin = 1\cm
  %  textheight = 270.0\mm
  #(layout-set-staff-size 30)
  #(set-paper-size "a4p") 
}

\layout {
  indent = 0.0\mm
  linewidth = 120.0\mm
  textheight = 270.0\mm
  #(define fonts (make-pango-font-tree "Arial" "Arial" "Arial" (/ 16 20)))
}

myBreak = { \bar "" \break }

Bovenstem = {
  \easyHeadsOn
  \key g \minor
  \time 4/4
  \easyHeadsOn
  s2
  f2 ees2 d2 f4 f4 bes4 bes4 a2 r2 \myBreak
  bes2 bes4 bes4 \time 6/4 d2 c2 bes4 c4 a2 r2 \myBreak
  f2 f2 g2 bes4 bes4 \time 4/4 bes2 d2 c2 r2 \myBreak
  f,2 bes4 c4 \time 6/4 d4 c2 bes2 c4 bes2 r2 \myBreak
  bes2 \time 4/4 a2 g2 f4 bes4 bes4 g4 f2 f2 r2 \myBreak
  bes2 \time 6/4 bes2 c2 d4 d4 d4 c2 c4 a2  \bar "|."
}

MusicOrigineel = {
  \easyHeadsOn
  %  \transpose g f
  s2 g2 f e d4 d e f g2 r
  c2 c4 a c2 b a4 a g2 r
  g2 e f g4 g a2 c b r
  g2 c4 b c d2 c b4 c2 r
  c2 b a g4 a g f e2 d r
  g2 a b c4 b a g2 f4 g1
}

VerseOne = \lyricmode { 
  \set stanza = "1."
  U zal ik lo -- ven, trou -- we Heer,
  ik kreeg van U het le -- ven weer.
  U was het, die mij uit -- komst bood,
  mij op -- trok uit mijn die -- pe nood.
  Mijn vij -- and kon zich niet ver -- blij -- den,
  geen vreug -- de schep -- pen in mijn lij -- den.
} 

VerseTwo = \lyricmode {
  \set stanza = "2."
  Mijn God, U hebt mij op mijn klacht
  ge -- ne -- zen en mijn leed ver -- zacht.
  U hebt mij aan de dood ont -- rukt,
  'k_ga on -- der smart niet meer ge -- bukt.
  U hebt het le -- ven mij ge -- ge -- ven
  en mij aan dood en graf ont -- he -- ven.
}

VerseThree = \lyricmode {
  \set stanza = "3."
  Psalm -- zingt, wie 's_He -- ren gunst ge -- niet.
  Zijn naam zij hei -- lig in uw lied.
  Maakt kor -- te tijd zijn toorn u bang,
  zijn lief -- de duurt uw le -- ven lang.
  De a -- vond daalt met angst en klach -- ten,
  de och -- tend zal met vreugd' u wach -- ten.
}

\score {
  <<
\new Staff <<
  \clef "treble"
  \override Score.BarNumber #'break-visibility = #end-of-line-invisible
  \set Score.barNumberVisibility = #(every-nth-bar-number-visible 1)
  \tempo 4. = 100
  \relative c'
  \new Voice = "Tenor" \relative c' {
\set Staff.midiInstrument = #"voice oohs"
\easyHeadsOn

\voiceOneStyle
\Bovenstem

  }
  
  \relative c''
  {
\voiceTwoStyle
\MusicOrigineel
  }
  
>>
\override Score . LyricText # 'font-size = #6
\new Lyrics \lyricsto "Tenor" {
  { \VerseOne }  }

\new Lyrics \lyricsto "Tenor" {
  { \VerseTwo }  }

\new Lyrics \lyricsto "Tenor" {
  { \VerseThree }  }

  >>
  
  \layout { }
  
  \midi {
\context {
  tempoWholesPerMinute = #(ly:make-moment 160 4)}
  }

Kind regards, Dirk Klamer

-Original Message-
From: lilypond-user-bounces+klamer=zonnet...@gnu.org
[mailto:lilypond-user-bounces+klamer=zonnet...@gnu.org] On Behalf Of David
Wright
Sent: zondag 17 januari 2016 3:59
To: Tim Regan
Cc: lilypond-user@gnu.org
Subject: Re: Lyrics for additional verses in LilyPond?

On Sat 16 Jan 2016 at 15:27:48 (+), Tim Regan wrote:
> Thanks Knute. That works. At first I place the markup block inside the
score after my add lyrics block but that threw syntax errors. Once I placed
it after the score it did exactly what I want.

I basically copied the example from p274 et seq of the Notation Manual
(2.18.2), but I think the factorisation of p276 is rather poor. I keep the
individual verses at the end of the file containing the notes and any lyric
underlays:

texti = \markup {
  \column {
\line {
  "1. "
  \column {
"Saviour, again to thy dear name we raise"
"With one accord our parting hymn of praise;"
"We stand to bless thee ere our worship cease;"
"Then, lowly kneeling, wait thy word of peace."
  }
}
  }
}

which yields conventional hanging indents for the verse numbers.
I then put the layout (and which selection of verses I want to set) in the
file containing the \score sections:

\score {
  [...]
  \layout { }
}

\markup {
  \fill-line {
\column {
  { \texti } \vspace #2.0
  [... etc ...]
}
  }
}

This is just a simple column. But imagine the editing involved if, for
example, you wanted to omit verse 3 in the example in the Manual...

Cheers,
David.

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Re: smallest possible bounding box

[Simon Albrecht]

Hello Carl-Henrik,

please always keep communication on-list, except if it is really 
private. Thus others can step in when I can’t help, and the information 
will be available to others searching the archives.


On 17.01.2016 12:27, Carl-Henrik Buschmann wrote:
17. jan. 2016 kl. 12.22 skrev Simon Albrecht >:


On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:


2) I need to export pngs for my latex documents and i would like the 
bounding box to be as small as possible. How do i do this?


It’s not quite clear what you want.


When making snippets I dont need the entire A4 paper, i just need the 
music. The bounding box is the area exported, or cropped if you like. 
In Sibelius i can check a box and it eliminates all unnecessary white 
space.


I have two ideas, both of which may not be what you need:
– the -dpreview option: it crops the output to show only the first 
system, without margins. Of course, this won’t be your choice if you 
want multiple systems.
– Manually adjusting margins (as I already suggested) and 
paper-height/-width. See 
.


Maybe others know of better methods?

HTH, Simon

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Re: smallest possible bounding box

[karl]

...
> >> On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
> >>> 2) I need to export pngs for my latex documents and i would like the 
> >>> bounding box to be as small as possible. How do i do this?
...

 If you

\include "lilypond-book-preamble.ly"

 and run

lilypond --ps -dbackend=eps 

 you get eps'es suitable for latax. When viewing with gv is seems like 
 they have some smallish margins on the right side. The left "margin" for 
 the first eps is the lilypond indent as in

\paper {
indent = 10.0\mm
}

 Example output is at

http://turkos.aspodata.se/noter/tmp/

 Example source is in

http://turkos.aspodata.se/git/musik/2015-10-30/

///

The very same procedure is what lilypond-book does, at least a few 
years ago. I adapted that to my likings since I did not like all those 
lily- files, and lilypond-book did not interface nicely with
make. Perhaps my procedure is redundant now, I don't know.

Regards,
/Karl Hammar

---
Aspö Data
Lilla Aspö 148
S-742 94 Östhammar
Sweden
+46 173 140 57



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Re: Instrument names and smallest possible bounding box

[Kieren MacMillan]

Hi Carl-Henrik

> 1) Instrument names. 
> The default placement of instrument names seems a bit messy compared to my 
> default Sibelius output:

Actually, I much prefer the Lilypond output — it almost perfectly matches the 
convention of hand-engraved music.

> They seem "off", not alligned properly.

Do you want them right-aligned? If so, that’s dead simple:

   \override InstrumentName.self-alignment-X = #RIGHT

Hope this helps!
Kieren.


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


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Re: Instrument names and smallest possible bounding box

[Kieren MacMillan]

Hi all,

On Jan 17, 2016, at 6:24 AM, Malte Meyn  wrote:

> LilyPond tries to center-align the instrument names. Long names which
> don’t fit into the margin defined by indent (default 1.5cm (?)) are
> right-aligned (“Woodwind” in your example). This “mixing” behaviour
> looks odd, I agree. You can make the indent bigger so all names are
> center-aligned or change the alignment of instrument names globally

You can also use David N’s great custom-align function — see snippet, below.

Hope this helps!
Kieren.

p.s. David N: Is this code ready to present as a patch? I think it’s not only a 
very useful function, it should be Lilypond’s default setting.

  SNIPPET BEGINS
\version "2.19.35"

#(define (align-to-interval victim target dir)
   "Align interval @var{victim} to interval @var{target} according
to the value of @var{dir}.  If @var{dir} is a number, use it to orient
both intervals.  If @var{dir} is a pair, use the @code{car} for the
victim and the @code{cdr} for the target."
   (let ((v-dir (if (number? dir) dir (car dir)))
 (t-dir (if (number? dir) dir (cdr dir
 (coord-translate
  victim
  (- (interval-index target t-dir)
(interval-index victim v-dir)

#(define (within-interval? point interval)
   "Does interval @var{interval} enclose number @var{num}?"
   (and
(interval-sane? interval)
(not (< point (car interval)))
(not (> point (cdr interval)

#(define (custom-align grob)
   (let* ((system (ly:grob-system grob))
  (elements (ly:grob-array->list
 (ly:grob-object system 'elements)))
  (elements (filter grob::is-live? elements))
  (text-grobs
   (filter
(lambda (e) (grob::has-interface e 'system-start-text-interface))
elements))

  ;; A delimiter is an initial barline, bracket, brace.
  (delims
   (filter
(lambda (elt)
  (grob::has-interface elt 'system-start-delimiter-interface))
elements))
  ;; To determine which delimiters affect our grob, we
  ;; unfortunately have to calculate its Y-position and
  ;; that of the delimiters!
  (text-grobs-delims-list
   (map (lambda (tg)
  (cons tg
(list
 (remove
  (lambda (d)
(not (within-interval?
  (ly:grob-property tg 'Y-offset)
  (ly:grob-extent d system Y
  delims
 text-grobs))
  (delim-extent-list
   (lambda (delim-list)
 (map
  (lambda (d) (ly:grob-extent d system X))
  delim-list)))
  ; Return a list of text grobs and their associated delimiter extents
  ; if we have no delimiters (as will happen with a single staff), use
  ; the left extent of the (unoffset) text grob itself as a basis.
  (text-grobs-delim-extents
   (map
(lambda (tgdl)
  (cons (car tgdl)
(if (null? (cadr tgdl))
(let ((me-ext (ly:grob-extent (car tgdl) system X)))
  (list (cons (car me-ext) (car me-ext
(delim-extent-list (cadr tgdl)
text-grobs-delims-list))
  ; combine extents
  (text-grobs-total-delim-extents
   (map (lambda (tgde)
  (cons (car tgde)
(reduce interval-union
  '()
  (cdr tgde
 text-grobs-delim-extents))
  ; assumption?
  (representative-delim-extent
   (cdar text-grobs-total-delim-extents))

  ; In order to calculate how much to move our name, we first need
  ; to construct a list of target positions for all grobs.
  (bar-line-width 0.1) ; Ugh.
  (target
   (map (lambda (tg)
  (let ((len (interval-length (ly:grob-extent tg system X
(cons tg
  (cons (- (cdr representative-delim-extent)
  bar-line-width)
(+ (- (cdr representative-delim-extent) bar-line-width)
  len)
 text-grobs))
  (target
   (map
(lambda (re)
  (cons (car re)
(coord-translate
 (cdr re)
 (ly:side-position-interface::x-aligned-side (car re)
target))
  (longest
   (car
(sort target
  (lambda (x y) (> (interval-length (cdr x))
   (interval-length (cdr y)))
  (target
   (map
(lambda (x)
  (cons (car x)
(align-to-interval ;align-interval-on-other
  (cdr x) (cdr longest)
  (ly:grob-property (car x) 'se

Re: smallest possible bounding box

[Simon Albrecht]

On 17.01.2016 13:01, Carl-Henrik Buschmann wrote:
Good suggestion. This of course works fine but it means manual labor 
and guessing.  What is the point of a computer if it cannot do this 
for us?


I tried -dpreview but could not get it to work. Help a poor noob, please.


The command line would be
$lilypond -dpreview INPUTFILE.ly
In case you use Frescobaldi, you can do it via the ‘Lilypond/Engrave 
(custom)’ dialogue.


HTH, Simon




Den 17. jan. 2016 kl. 12.49 skrev Pierre Perol-Schneider 
>:



Hi Carl-Henrik,

Simply defined the 'paper' dimension you'd like :

\paper {
  paper-height = 150
  paper-width = 50
}

E.g. :

\version "2.19.35"

%---
% Global variables
%---
global = {
  \time 4/4
  \key c \major
}

%---
% Music
%---
NRT = \relative {
  \global
  \clef G
  \hideNotes
  c' d e
}

high = \relative {
  \global
  \clef G
  \hideNotes
  c' d e
}

low = \relative {
  \global
  \clef F
  \hideNotes
  c d e
}

%---
% Score
%---

\paper {
  paper-height = 150
  paper-width = 50
  top-margin = 0
  bottom-margin = 0
  left-margin = 0
  right-margin = 0
  indent = 22
}

\header {
  tagline = ""
}

\score {
  <<
\new Staff \with { instrumentName = "Analysis" }
  { \NRT }
\new GrandStaff \with { instrumentName = "Woodwind" } <<
  \new Staff { \high }
  \new Staff { \low }
>>
\new GrandStaff \with { instrumentName = "Brass" } <<
  \new Staff { \high }
  \new Staff { \low }
>>
\new GrandStaff \with { instrumentName = "Strings" } <<
  \new Staff { \high }
  \new Staff { \low }
>>
\new GrandStaff \with {
  instrumentName = \markup \right-column {
"Piano"
"Aux."
}
  } <<
  \new Staff { \high }
  \new Staff { \low }
>>
  >>

%---
% Layout
%---
  \layout {
\context {
  \Score
  timing = ##f
}
\context {
  \GrandStaff
  \override InstrumentName.self-alignment-X = #RIGHT %% or 1
}
\context {
  \Staff
  \omit TimeSignature
  \override InstrumentName.self-alignment-X = #RIGHT %% or 1
}
  }
}


HTH,
Pierre

2016-01-17 12:30 GMT+01:00 Carl-Henrik Buschmann >:


> 17. jan. 2016 kl. 12.22 skrev Simon Albrecht mailto:simon.albre...@mail.de>>:
>
> On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
>>
>> 2) I need to export pngs for my latex documents and i would
like the bounding box to be as small as possible. How do i do this?
>
> It’s not quite clear what you want. Perhaps:
> \paper {
>  top-margin = 0
>  bottom-margin = 0
>  left-margin = 0
>  right-margin = 0
> }
> ?
>
> Best, Simon

When making snippets I dont need the entire A4 paper, i just need
the music. The bounding box is the area exported, or cropped if
you like. In Sibelius i can check a box and it eliminates all
unnecessary white space.
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Re: Outliner markup command

[Paul Morris]

Hi Harm,  

> On Jan 15, 2016, at 5:58 PM, Thomas Morley  wrote:
> 
> 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

This looks like a good solution to me.  Thanks for looking into it and coming 
up with a fix!  That recursive map function is especially nice.  For the name 
of the markup command, I’d like to suggest \outline since it is more in line 
with the names of other markup commands.  

It might also be good to let the \whiteout markup command respond to color 
property overrides, but that’s a separate issue.  And I suppose it raises the 
question of whether to provide both, which is a matter of how sweet or bitter 
to make the syntax.  For example:

\markup {
\override #'(style . outline)
\override #'(thickness . 3)
\override #`(color . ,red)
\whiteout ''text with red outline"
}

\markup {
  \outline #3 #red "text with red outline"
}

Cheers,
-Paul



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Re: Instrument names and smallest possible bounding box

[David Nalesnik]

Hi,

On Sun, Jan 17, 2016 at 8:53 AM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi all,
>
> On Jan 17, 2016, at 6:24 AM, Malte Meyn  wrote:
>
> > LilyPond tries to center-align the instrument names. Long names which
> > don’t fit into the margin defined by indent (default 1.5cm (?)) are
> > right-aligned (“Woodwind” in your example). This “mixing” behaviour
> > looks odd, I agree. You can make the indent bigger so all names are
> > center-aligned or change the alignment of instrument names globally
>
> You can also use David N’s great custom-align function — see snippet,
> below.
>
> Hope this helps!
> Kieren.
>
> p.s. David N: Is this code ready to present as a patch? I think it’s not
> only a very useful function, it should be Lilypond’s default setting.
>

Unfortunately, this code doesn't work with the example here:
https://sourceforge.net/p/testlilyissues/issues/4728/  and I haven't yet
pinpointed the reason.

The code also is badly in need of some caching to avoid repetition of
expensive calculations.  Not sure of the best way to do this.

So no patch yet...

David
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ugly french-beaming hack messes with lyrics

[N. Andrew Walsh]

Hi list,

I ran into an issue when using what is admittedly an ugly hack for forcing
French beaming, when *also* working with a voice with lyrics.

What I want, when I have (pseudo-code):

{ r8.[ e16] }

is for the rest to be roughly in the middle, with a stemlet, beamed
together with the following note. Since this didn't work right (the rest
was always shoved way out of the middle of the staff to be roughly aligned
with the attached note), I resorted to the following (ugly pseudo-code):

\version "2.19.36" ¹
{
c4 d f
 \override Stem.stemlet-length = #0.5
 \override Stem.details.beamed-lengths = #'(5)
b,8.\rest[ f'16]
  \revert Stem.details.beamed-lengths
  \revert Stem.stemlet-length
}

This got me what I wanted in terms of placing the rest and getting stemlets
and having the stems the right length, but it apparently doesn't work very
well when in a voice with lyrics. Apparently the lyrics part jumps right
over the both the { b,8.\rest[ } and the following { f16] } parts, aligning
the syllable to the next note.

I don't actually much care about this in my present use-case, because it's
a voice part that wouldn't normally be beamed anyway. However, I could
imagine some use case where a rest might be beamed to some following note,
and expect to have that note get lyrics attached.

So, just out of curiosity, is there a better way to achieve what I'm
looking for here?

Cheers,

A
¹ NB: my Lily version may very well be not yet released. I'm installing
from git, and that's the version that she reports herself to be.
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Re: ugly french-beaming hack messes with lyrics

[N. Andrew Walsh]

Hi Simon,

thanks for getting back to me (and for the more complete example). Odd,
when I tried that last time the rests would be vertically displaced, but
now it does what it's supposed to do. Welp, now I can't reproduce the
problem I was having with just using "r" instead of "b\rest" or whatever,
so I'm going to count it as "problem doesn't actually exist" and move on.

Cheers,

A

On Sun, Jan 17, 2016 at 5:04 PM, Simon Albrecht 
wrote:

> Hi Andrew,
>
> On 17.01.2016 16:50, N. Andrew Walsh wrote:
>
>> Hi list,
>>
>> I ran into an issue when using what is admittedly an ugly hack for
>> forcing French beaming,
>>
>
> French beaming is a different thing: it means that mid-beam stems only
> extend to the innermost beam, not through the last beam as per default.
>
> when *also* working with a voice with lyrics.
>>
>> What I want, when I have (pseudo-code):
>>
>> { r8.[ e16] }
>>
>> is for the rest to be roughly in the middle, with a stemlet, beamed
>> together with the following note. Since this didn't work right (the rest
>> was always shoved way out of the middle of the staff to be roughly aligned
>> with the attached note), I resorted to the following (ugly pseudo-code):
>>
>> \version "2.19.36" ¹
>> {
>> c4 d f
>>  \override Stem.stemlet-length = #0.5
>>  \override Stem.details.beamed-lengths = #'(5)
>> b,8.\rest[ f'16]
>>   \revert Stem.details.beamed-lengths
>>   \revert Stem.stemlet-length
>> }
>>
>> This got me what I wanted in terms of placing the rest and getting
>> stemlets and having the stems the right length, but it apparently doesn't
>> work very well when in a voice with lyrics. Apparently the lyrics part
>> jumps right over the both the { b,8.\rest[ } and the following { f16] }
>> parts, aligning the syllable to the next note.
>>
>> I don't actually much care about this in my present use-case, because
>> it's a voice part that wouldn't normally be beamed anyway. However, I could
>> imagine some use case where a rest might be beamed to some following note,
>> and expect to have that note get lyrics attached.
>>
>> So, just out of curiosity, is there a better way to achieve what I'm
>> looking for here?
>>
>
> That’s a lot of complicated text, and the example seems to be incomplete,
> especially since there are no Lyrics in it. That tends to be annoying for
> anybody willing to help.
> Anyway, the following works fine for me:
>
> \version "2.19.35"
> <<
>   \relative c'' {
> c4 d f
> \override Stem.stemlet-length = #0.5
> \override Stem.details.beamed-lengths = #'(5)
> r8.[ f16]
>   }
>   \addlyrics {
> this is a test
>   }
> >>
>
> What would your problem be with that?
>
> Best, Simon
>
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Re: smallest possible bounding box

[Kevin Barry]

My workflow consists almost exclusively of producing musical examples for
including in Latex. I have the following code in a style file that will
crop things as small as possible. After that you will have to adjust the
line width manually (depending on your latex document's \textwidth).

#(ly:set-option 'backend 'eps)
#(ly:set-option 'aux-files #f)

\paper {
  left-margin = 0
  right-margin = 0
  oddFooterMarkup=##f
  oddHeaderMarkup=##f
  indent = 0
}

On 17 January 2016 at 15:04, Simon Albrecht  wrote:

> On 17.01.2016 13:01, Carl-Henrik Buschmann wrote:
>
>> Good suggestion. This of course works fine but it means manual labor and
>> guessing.  What is the point of a computer if it cannot do this for us?
>>
>> I tried -dpreview but could not get it to work. Help a poor noob, please.
>>
>
> The command line would be
> $lilypond -dpreview INPUTFILE.ly
> In case you use Frescobaldi, you can do it via the ‘Lilypond/Engrave
> (custom)’ dialogue.
>
> HTH, Simon
>
>
>>
>> Den 17. jan. 2016 kl. 12.49 skrev Pierre Perol-Schneider <
>> pierre.schneider.pa...@gmail.com > >>:
>>
>> Hi Carl-Henrik,
>>>
>>> Simply defined the 'paper' dimension you'd like :
>>>
>>> \paper {
>>>   paper-height = 150
>>>   paper-width = 50
>>> }
>>>
>>> E.g. :
>>>
>>> \version "2.19.35"
>>>
>>> %---
>>> % Global variables
>>> %---
>>> global = {
>>>   \time 4/4
>>>   \key c \major
>>> }
>>>
>>> %---
>>> % Music
>>> %---
>>> NRT = \relative {
>>>   \global
>>>   \clef G
>>>   \hideNotes
>>>   c' d e
>>> }
>>>
>>> high = \relative {
>>>   \global
>>>   \clef G
>>>   \hideNotes
>>>   c' d e
>>> }
>>>
>>> low = \relative {
>>>   \global
>>>   \clef F
>>>   \hideNotes
>>>   c d e
>>> }
>>>
>>> %---
>>> % Score
>>> %---
>>>
>>> \paper {
>>>   paper-height = 150
>>>   paper-width = 50
>>>   top-margin = 0
>>>   bottom-margin = 0
>>>   left-margin = 0
>>>   right-margin = 0
>>>   indent = 22
>>> }
>>>
>>> \header {
>>>   tagline = ""
>>> }
>>>
>>> \score {
>>>   <<
>>> \new Staff \with { instrumentName = "Analysis" }
>>>   { \NRT }
>>> \new GrandStaff \with { instrumentName = "Woodwind" } <<
>>>   \new Staff { \high }
>>>   \new Staff { \low }
>>> >>
>>> \new GrandStaff \with { instrumentName = "Brass" } <<
>>>   \new Staff { \high }
>>>   \new Staff { \low }
>>> >>
>>> \new GrandStaff \with { instrumentName = "Strings" } <<
>>>   \new Staff { \high }
>>>   \new Staff { \low }
>>> >>
>>> \new GrandStaff \with {
>>>   instrumentName = \markup \right-column {
>>> "Piano"
>>> "Aux."
>>> }
>>>   } <<
>>>   \new Staff { \high }
>>>   \new Staff { \low }
>>> >>
>>>   >>
>>>
>>> %---
>>> % Layout
>>> %---
>>>   \layout {
>>> \context {
>>>   \Score
>>>   timing = ##f
>>> }
>>> \context {
>>>   \GrandStaff
>>>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
>>> }
>>> \context {
>>>   \Staff
>>>   \omit TimeSignature
>>>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
>>> }
>>>   }
>>> }
>>>
>>>
>>> HTH,
>>> Pierre
>>>
>>> 2016-01-17 12:30 GMT+01:00 Carl-Henrik Buschmann >> >:
>>>
>>> > 17. jan. 2016 kl. 12.22 skrev Simon Albrecht <
>>> simon.albre...@mail.de >:
>>> >
>>> > On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
>>> >>
>>> >> 2) I need to export pngs for my latex documents and i would
>>> like the bounding box to be as small as possible. How do i do this?
>>> >
>>> > It’s not quite clear what you want. Perhaps:
>>> > \paper {
>>> >  top-margin = 0
>>> >  bottom-margin = 0
>>> >  left-margin = 0
>>> >  right-margin = 0
>>> > }
>>> > ?
>>> >
>>> > Best, Simon
>>>
>>> When making snippets I dont need the entire A4 paper, i just need
>>> the music. The bounding box is the area exported, or cropped if
>>> you like. In Sibelius i can check a box and it eliminates all
>>> unnecessary white space.
>>> ___
>>> lilypond-user mailing list
>>> lilypond-user@gnu.org 
>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>>
>>>
>>>
>>
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>
>
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Re: Controlling hairpin length

[David Sumbler]

Thank you for the suggestion (below) for controlling the actual length
of hairpins.  I am afraid it has taken until now for me to have an
opportunity to try it out in my string quartet.  Unfortunately, I find
that it is only a partial success.

Previously I had '\override Hairpin.minimum-length = #7' in my Voice
defaults.  This works OK most of the time, although obviously sometimes
it produces an over-long hairpin which needs an override.

I then tried setting \myHairpinMinimumLength #1.5 (as in your example),
but had to remove the Hairpin.minimum-length setting to get it to work.
Unfortunately I found that a number of hairpins produced a compiler
warning: "decrescendo too small".

I don't understand this, because the example you gave seems to compile
without a problem, other than that the line length is far greater than
my page width.

The bar that seems to cause most of the problems is:

g8\< a b cs( ~ cs\mf\> b) d,\mp cs |
g8\< g a g fs4\mf\> r\! |
d8\< e fs e as,(\mf\> b) r4\! |
e2\< d4\mf\> fs8(--\mp fs)-- |

This is a "parallelMusic" bar for a standard string quartet.  The
warnings are produced by the decrescendo, and this hairpin has zero
actual length, despite the \myHairpinMinimumLength setting.  This
happens in each of the parts (apart from the viola), but not in the
score.  Presumably the extra quaver in the viola part saves the score
and the viola part from getting this too-short hairpin, but then the
viola part gives a similar warning in a later bar.

I am using Lilypond 2.19.30.

David



On Sat, 2015-12-12 at 22:35 +0100, Thomas Morley wrote:
> 2015-12-12 17:46 GMT+01:00 David Sumbler :
> > Although I quite often find myself needing to use
> >
> > \override Voice.Hairpin.minimum-length = #2
> >
> > or similar, I find that the results are unpredictable (to me!)
> >
> > Sometimes I have a very short hairpin, perhaps starting on a quaver and
> > ending on the next quaver.  In the output such a hairpin sometimes
> > appears as a short vertical line (i.e. with length=0), and a warning is
> > shown in the compiler output.
> >
> > If I change Hairpin.minimum-length I have to do it by trial and error,
> > because the result does not seem necessarily to correspond to the value
> > I have specified.  (I am assuming that the units are staff spaces.)  I'm
> > guessing that this may perhaps be something to do with having an actual
> > dynamic such as mf attached to one or both notes.
> 
> It's issue 2207
> https://sourceforge.net/p/testlilyissues/issues/2207/
> 
> >
> > The Internals Reference says that use of the minimum-length property
> > with a hairpin "requires an appropriate callback for the
> > springs-and-rods property".  Unfortunately I have no clear idea what
> > this means, and I haven't managed to find out yet either by searching or
> > by experimentation.  The best I have come up with so far is
> >
> > \override Hairpin.springs-and-rods = #ly:spanner::set-spacing-rods
> 
> This is already the default for Hairpins (but nor for Glissando par example)
> No need to set it again in your file.
> 
> >
> > This doesn't improve the output at all, but at least it doesn't produce
> > any additional error or warning!
> >
> > How can I guarantee that all hairpins will be printed with a minimum
> > length of, say, 1.5 staff spaces, and the notes spaced appropriately,
> > regardless of preceding or following dynamics?
> 
> You may find the discussion at the linked issue enlightning.
> 
> For now you may try the following as a workaround.
> Though, please be aware it's not tested beyond the example, your turn ;)
> Ofcorse I'll try to improve the code, if you notice issues
> 
> \version "2.18.2"
> 
> %% a helper:
> #(define (look-up-for-parent name-symbol axis grob)
> "Return the parent of @var{grob}, specified by it's @var{name-symbol} in
> axis @var{axis} or @var{grob}, if equal to the grob named @var{name-symbol}
> already.
> If not found, look up for the next parent."
>  (let* ((parent (ly:grob-parent grob axis)))
>  (cond
>((not (ly:grob? parent))
> (ly:error
>(_"Perhaps typing error for \"~a\" or \"~a\" is not in the 
> parent-tree.")
>name-symbol name-symbol))
>((equal? name-symbol (grob::name grob)) grob)
>((not (equal? name-symbol (grob::name parent)))
> (look-up-for-parent name-symbol axis parent))
>(else parent
> 
> #(define ((hairpin-minimum-length my-minimum) grob)
>   (let* ((bound-left (ly:spanner-bound grob LEFT))
>  (bound-right (ly:spanner-bound grob RIGHT))
>  (sys (look-up-for-parent 'System Y grob))
>  (left-x-ext (ly:grob-extent bound-left sys X))
>  (right-x-ext (ly:grob-extent bound-right sys X)))
> (ly:grob-set-property! grob 'minimum-length
>   ;; keep 'minimum-length user-settable
>   (max (ly:grob-property-data grob 'minimum-length)
>;; nb, this calculation is only an approximation
>;; should work in most cases, though
>(+ my-

Re: smallest possible bounding box

[Carl-Henrik Buschmann]

Kevin, please humor a LP novice: Let us say my file was the one you would use 
in a .tex. What would you do?


> 17. jan. 2016 kl. 16.55 skrev Kevin Barry :
> 
> My workflow consists almost exclusively of producing musical examples for 
> including in Latex. I have the following code in a style file that will crop 
> things as small as possible. After that you will have to adjust the line 
> width manually (depending on your latex document's \textwidth).
> 
> #(ly:set-option 'backend 'eps)
> #(ly:set-option 'aux-files #f)
> 
> \paper {
>   left-margin = 0
>   right-margin = 0
>   oddFooterMarkup=##f
>   oddHeaderMarkup=##f
>   indent = 0
> }
> 
> On 17 January 2016 at 15:04, Simon Albrecht  > wrote:
> On 17.01.2016 13:01, Carl-Henrik Buschmann wrote:
> Good suggestion. This of course works fine but it means manual labor and 
> guessing.  What is the point of a computer if it cannot do this for us?
> 
> I tried -dpreview but could not get it to work. Help a poor noob, please.
> 
> The command line would be
> $lilypond -dpreview INPUTFILE.ly
> In case you use Frescobaldi, you can do it via the ‘Lilypond/Engrave 
> (custom)’ dialogue.
> 
> HTH, Simon
> 
> 
> 
> Den 17. jan. 2016 kl. 12.49 skrev Pierre Perol-Schneider 
> mailto:pierre.schneider.pa...@gmail.com> 
>  >>:
> 
> Hi Carl-Henrik,
> 
> Simply defined the 'paper' dimension you'd like :
> 
> \paper {
>   paper-height = 150
>   paper-width = 50
> }
> 
> E.g. :
> 
> \version "2.19.35"
> 
> %---
> % Global variables
> %---
> global = {
>   \time 4/4
>   \key c \major
> }
> 
> %---
> % Music
> %---
> NRT = \relative {
>   \global
>   \clef G
>   \hideNotes
>   c' d e
> }
> 
> high = \relative {
>   \global
>   \clef G
>   \hideNotes
>   c' d e
> }
> 
> low = \relative {
>   \global
>   \clef F
>   \hideNotes
>   c d e
> }
> 
> %---
> % Score
> %---
> 
> \paper {
>   paper-height = 150
>   paper-width = 50
>   top-margin = 0
>   bottom-margin = 0
>   left-margin = 0
>   right-margin = 0
>   indent = 22
> }
> 
> \header {
>   tagline = ""
> }
> 
> \score {
>   <<
> \new Staff \with { instrumentName = "Analysis" }
>   { \NRT }
> \new GrandStaff \with { instrumentName = "Woodwind" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { instrumentName = "Brass" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { instrumentName = "Strings" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with {
>   instrumentName = \markup \right-column {
> "Piano"
> "Aux."
> }
>   } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
>   >>
> 
> %---
> % Layout
> %---
>   \layout {
> \context {
>   \Score
>   timing = ##f
> }
> \context {
>   \GrandStaff
>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
> }
> \context {
>   \Staff
>   \omit TimeSignature
>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
> }
>   }
> }
> 
> 
> HTH,
> Pierre
> 
> 2016-01-17 12:30 GMT+01:00 Carl-Henrik Buschmann    >>:
> 
> > 17. jan. 2016 kl. 12.22 skrev Simon Albrecht    >>:
> >
> > On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
> >>
> >> 2) I need to export pngs for my latex documents and i would
> like the bounding box to be as small as possible. How do i do this?
> >
> > It’s not quite clear what you want. Perhaps:
> > \paper {
> >  top-margin = 0
> >  bottom-margin = 0
> >  left-margin = 0
> >  right-margin = 0
> > }
> > ?
> >
> > Best, Simon
> 
> When making snippets I dont need the entire A4 paper, i just need
> the music. The bounding box is the area exported, or cropped if
> you like. In Sibelius i can check a box and it eliminates all
> unnecessary white space.
> ___
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> lilypond-user@gnu.org  
> >
> https://lists.gnu.org/mailman/listinfo/lilypond-user 
> 
> 
> 
> 
> 
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> 

Re: Controlling hairpin length

[Thomas Morley]

2016-01-17 17:36 GMT+01:00 David Sumbler :
> Thank you for the suggestion (below) for controlling the actual length
> of hairpins.  I am afraid it has taken until now for me to have an
> opportunity to try it out in my string quartet.  Unfortunately, I find
> that it is only a partial success.
>
> Previously I had '\override Hairpin.minimum-length = #7' in my Voice
> defaults.  This works OK most of the time, although obviously sometimes
> it produces an over-long hairpin which needs an override.
>
> I then tried setting \myHairpinMinimumLength #1.5 (as in your example),
> but had to remove the Hairpin.minimum-length setting to get it to work.
> Unfortunately I found that a number of hairpins produced a compiler
> warning: "decrescendo too small".
>
> I don't understand this, because the example you gave seems to compile
> without a problem, other than that the line length is far greater than
> my page width.
>
> The bar that seems to cause most of the problems is:
>
> g8\< a b cs( ~ cs\mf\> b) d,\mp cs |
> g8\< g a g fs4\mf\> r\! |
> d8\< e fs e as,(\mf\> b) r4\! |
> e2\< d4\mf\> fs8(--\mp fs)-- |
>
> This is a "parallelMusic" bar for a standard string quartet.  The
> warnings are produced by the decrescendo, and this hairpin has zero
> actual length, despite the \myHairpinMinimumLength setting.  This
> happens in each of the parts (apart from the viola), but not in the
> score.  Presumably the extra quaver in the viola part saves the score
> and the viola part from getting this too-short hairpin, but then the
> viola part gives a similar warning in a later bar.
>
> I am using Lilypond 2.19.30.
>
> David


Hi David,

the code below gives the attached output (cut off)
I see no problems and no warnings.

Tiny example?

\version "2.19.35"

\language "english"

%% a helper:
#(define (look-up-for-parent name-symbol axis grob)
"Return the parent of @var{grob}, specified by it's @var{name-symbol} in
axis @var{axis} or @var{grob}, if equal to the grob named @var{name-symbol}
already.
If not found, look up for the next parent."
 (let* ((parent (ly:grob-parent grob axis)))
 (cond
   ((not (ly:grob? parent))
(ly:error
   (_"Perhaps typing error for \"~a\" or \"~a\" is not in the parent-tree.")
   name-symbol name-symbol))
   ((equal? name-symbol (grob::name grob)) grob)
   ((not (equal? name-symbol (grob::name parent)))
(look-up-for-parent name-symbol axis parent))
   (else parent

#(define ((hairpin-minimum-length my-minimum) grob)
  (let* ((bound-left (ly:spanner-bound grob LEFT))
 (bound-right (ly:spanner-bound grob RIGHT))
 (sys (look-up-for-parent 'System Y grob))
 (left-x-ext (ly:grob-extent bound-left sys X))
 (right-x-ext (ly:grob-extent bound-right sys X)))
(ly:grob-set-property! grob 'minimum-length
  ;; keep 'minimum-length user-settable
  (max (ly:grob-property-data grob 'minimum-length)
   ;; nb, this calculation is only an approximation
   ;; should work in most cases, though
   (+ my-minimum (abs (cdr left-x-ext)) (abs (cdr right-x-ext)))

myHairpinMinimumLength =
#(define-music-function (parser location minimum)(number?)
#{
  \override Hairpin.before-line-breaking =
#(hairpin-minimum-length minimum)
#})

%{
{
\override Hairpin.color = #red
\myHairpinMinimumLength #1.5
\repeat unfold 6 { c4\\> d\\! c d \noBreak }
\break
%% overriding 'minimum-length is still possible
\override Hairpin.minimum-length = 20
\repeat unfold 6 { c4\\> d\\! c d \noBreak }
}
%}

\parallelMusic #'(A B C D) {
g8\< a b cs( ~ cs\mf\> b) d,\mp cs |
g8\< g a g fs4\mf\> r\! |
d8\< e fs e as,(\mf\> b) r4\! |
e2\< d4\mf\> fs8(--\mp fs)-- |
}

\layout {
  \context {
\Voice
\myHairpinMinimumLength #3
  }
}


\new StaffGroup <<
  \new Staff \A
  \new Staff \B
  \new Staff \C
  \new Staff \D
>>

\new Staff \A
\new Staff \B
\new Staff \C
\new Staff \D

Cheers,
  Harm
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Re: smallest possible bounding box

[Kevin Barry]

On 17 January 2016 at 16:56, Carl-Henrik Buschmann 
wrote:

> Kevin, please humor a LP novice: Let us say my file was the one you would
> use in a .tex. What would you do?


It depends on the document and the musical example. For a small musical
example that will fit on one page (with no instrument names) you should be
able to get away with simply specifying a line-width in a layout block in
your .ly file, then including it in your .tex file with
\includegraphics{myexample.pdf}. The exact value you will need for
line-width has to be found by experimentation, since the textwidth of a
latex document depends on the documentclass and fontsize. For example, if
you are using \documentclass[12pt]{article}, which is probably the size I
use most frequently for class notes and the like then a line-width of 135
(mm) will do in most circumstances. You will have to experiment, but
assuming you tend to use the same margins frequently you will only have to
do it a limited number of times (and it really doesn't take long). (P.S.
the draft option can be helpful for doing this, but latex will complain
even when images seem to fit perfectly, so trust your eyes and not its
complaints about overfull hboxes and the like.)

That is the short version. The long version is more complicated...
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Re: Controlling hairpin length

[David Sumbler]

It's true - your example, using the bar I included in my previous email,
works fine.

In my previous attempts at getting this to work with the whole quartet I
had your 2 Scheme "define"s and the myHairpinMinimumLength definition in
a file of defaults,  which has an /include in my top file.  In the
included file, after the definitions, I had '\myHairpinMinimumLength
#2', or whatever value I was trying out.  I have now realized that I had
not set it correctly in a Voice context.  Having corrected that, I find
that it does indeed seem to produce the desired result.  (I have not had
time to check the hairpins on all 106 pages yet!)

The only trouble is, I am getting a lot of compiler errors and warnings.
For each of the relevant layout blocks, I get:

programming error: infinite rod
continuing, cross fingers

and then numerous instances of:

programming error: ignoring weird minimum distance
continuing, cross fingers

In the cases of the 2nd violin and the viola, this latter message is
printed 50 times each for the 3rd movement alone - quite a lot for a
movement with only 64 bars!  And there are certainly well over 1,000 of
these errors for the whole quartet (score and parts).

Have you come across this behaviour?

David


On Sun, 2016-01-17 at 18:22 +0100, Thomas Morley wrote:
> 2016-01-17 17:36 GMT+01:00 David Sumbler :
> > Thank you for the suggestion (below) for controlling the actual length
> > of hairpins.  I am afraid it has taken until now for me to have an
> > opportunity to try it out in my string quartet.  Unfortunately, I find
> > that it is only a partial success.
> >
> > Previously I had '\override Hairpin.minimum-length = #7' in my Voice
> > defaults.  This works OK most of the time, although obviously sometimes
> > it produces an over-long hairpin which needs an override.
> >
> > I then tried setting \myHairpinMinimumLength #1.5 (as in your example),
> > but had to remove the Hairpin.minimum-length setting to get it to work.
> > Unfortunately I found that a number of hairpins produced a compiler
> > warning: "decrescendo too small".
> >
> > I don't understand this, because the example you gave seems to compile
> > without a problem, other than that the line length is far greater than
> > my page width.
> >
> > The bar that seems to cause most of the problems is:
> >
> > g8\< a b cs( ~ cs\mf\> b) d,\mp cs |
> > g8\< g a g fs4\mf\> r\! |
> > d8\< e fs e as,(\mf\> b) r4\! |
> > e2\< d4\mf\> fs8(--\mp fs)-- |
> >
> > This is a "parallelMusic" bar for a standard string quartet.  The
> > warnings are produced by the decrescendo, and this hairpin has zero
> > actual length, despite the \myHairpinMinimumLength setting.  This
> > happens in each of the parts (apart from the viola), but not in the
> > score.  Presumably the extra quaver in the viola part saves the score
> > and the viola part from getting this too-short hairpin, but then the
> > viola part gives a similar warning in a later bar.
> >
> > I am using Lilypond 2.19.30.
> >
> > David
> 
> 
> Hi David,
> 
> the code below gives the attached output (cut off)
> I see no problems and no warnings.
> 
> Tiny example?
> 
> \version "2.19.35"
> 
> \language "english"
> 
> %% a helper:
> #(define (look-up-for-parent name-symbol axis grob)
> "Return the parent of @var{grob}, specified by it's @var{name-symbol} in
> axis @var{axis} or @var{grob}, if equal to the grob named @var{name-symbol}
> already.
> If not found, look up for the next parent."
>  (let* ((parent (ly:grob-parent grob axis)))
>  (cond
>((not (ly:grob? parent))
> (ly:error
>(_"Perhaps typing error for \"~a\" or \"~a\" is not in the 
> parent-tree.")
>name-symbol name-symbol))
>((equal? name-symbol (grob::name grob)) grob)
>((not (equal? name-symbol (grob::name parent)))
> (look-up-for-parent name-symbol axis parent))
>(else parent
> 
> #(define ((hairpin-minimum-length my-minimum) grob)
>   (let* ((bound-left (ly:spanner-bound grob LEFT))
>  (bound-right (ly:spanner-bound grob RIGHT))
>  (sys (look-up-for-parent 'System Y grob))
>  (left-x-ext (ly:grob-extent bound-left sys X))
>  (right-x-ext (ly:grob-extent bound-right sys X)))
> (ly:grob-set-property! grob 'minimum-length
>   ;; keep 'minimum-length user-settable
>   (max (ly:grob-property-data grob 'minimum-length)
>;; nb, this calculation is only an approximation
>;; should work in most cases, though
>(+ my-minimum (abs (cdr left-x-ext)) (abs (cdr right-x-ext)))
> 
> myHairpinMinimumLength =
> #(define-music-function (parser location minimum)(number?)
> #{
>   \override Hairpin.before-line-breaking =
> #(hairpin-minimum-length minimum)
> #})
> 
> %{
> {
> \override Hairpin.color = #red
> \myHairpinMinimumLength #1.5
> \repeat unfold 6 { c4\\> d\\! c d \noBreak }
> \break
> %% overriding 'minimum-length is still possible
> \override Hairpin.

Re: update objects

[David Nalesnik]

Hi Luca,

On Sat, Jan 16, 2016 at 6:52 AM, Luca Danieli  wrote:

> Thank you David,
>
> I recently introduced some arrowed micro-tonal notation to my file.
> In the file I was suggested the standard micro-tonal notation is replaced
> by the following code (example):
>
> (ceh . ,(ly:make-pitch -1 0 (/ FLAT 2)))
>
> They told me that to enable this symbol I have to update the arrowGlyphs.
>
> Alternatively I could use the standard symbol for representing
> quarter-tones, but I don't know how to produce it.
>
> I tried for example this:
>
> (ceh . ,(ly:make-pitch -1 0 (* FLAT 1/2)))
>
> but it doesn't work.
> So I now have arrowed-notation but I cannot reproduce anymore quarter-tone
> standard notation.
>
> This is why I would like to update "arrayGlyphs", but unfortunately I
> don't understand the "how to".
>

I really can't answer this question without a minimal compiling example to
work with.

In any case, this appears to be a follow-up question to this thread:
http://www.mail-archive.com/lilypond-user%40gnu.org/msg107353.html

Perhaps you would be more likely to get an answer if you pose your question
on that thread.

Best,
David
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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

Any news regarding this?


Carl-Henrik

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Re: Controlling hairpin length

[Thomas Morley]

2016-01-17 19:21 GMT+01:00 David Sumbler :

>
> The only trouble is, I am getting a lot of compiler errors and warnings.
> For each of the relevant layout blocks, I get:
>
> programming error: infinite rod
> continuing, cross fingers
>
> and then numerous instances of:
>
> programming error: ignoring weird minimum distance
> continuing, cross fingers
>
> In the cases of the 2nd violin and the viola, this latter message is
> printed 50 times each for the 3rd movement alone - quite a lot for a
> movement with only 64 bars!  And there are certainly well over 1,000 of
> these errors for the whole quartet (score and parts).
>
> Have you come across this behaviour?



In one word: no.
Please try to boil it down to minimal example otherwise I can't help.

Cheers,
  Harm

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Re: Lilypond and Jazz chords

[Thomas Morley]

2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann :
> Any news regarding this?



Well, what's "this"?
LilyPond exists, yes. There is no common definiton of "JazzChords".
So, no news. ;)
Maybe you may want to be a little more specific?

Cheers,
  Harm

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Re: smallest possible bounding box

[karl]

...
> >> On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
> >>> 2) I need to export pngs for my latex documents and i would like the 
> >>> bounding box to be as small as possible. How do i do this?
...

 If you

\include "lilypond-book-preamble.ly"

 and run

lilypond --ps -dbackend=eps 

 you get eps'es suitable for latax. When viewing with gv is seems like 
 they have some smallish margins on the right side. The left "margin" for 
 the first eps is the lilypond indent as in

\paper {
indent = 10.0\mm
}

 Example output is at

http://turkos.aspodata.se/noter/tmp/

 Example source is in

http://turkos.aspodata.se/git/musik/2015-10-30/

///

The very same procedure is what lilypond-book does, at least a few 
years ago. I adapted that to my likings since I did not like all those 
lily- files, and lilypond-book did not interface nicely with
make. Perhaps my procedure is redundant now, I don't know.

Regards,
/Karl Hammar

---
Aspö Data
Lilla Aspö 148
S-742 94 Östhammar
Sweden
+46 173 140 57



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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Carl-Henrik,

> I'm wondering if lilypond is able to notate complex chords

Still not sure exactly what you mean… As far as I understand (and have used), 
Lilypond can notate any chord you want, given the correct custom chord naming. 
I’ve been building an include file around the Brandt&Roemer system, and haven’t 
yet had a problem with any notation.

What exactly is Lilypond not doing for you?
(i.e., please include a Lilypond file which compiles, and explain what it does 
“incorrectly”)

Cheers,
KIeren.


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


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Re: Lilypond and Jazz chords

[Blöchl Bernhard]

Well, trolls like fish i learnt.

Am 17.01.2016 21:12, schrieb Thomas Morley:

2016-01-17 20:30 GMT+01:00 Carl-Henrik Buschmann
:


Sorry, thought the thread was referenced.

I'm wondering if lilypond is able to notate complex chords, as
discussed in the before mentioned thread. 


I've still no clue which thread you mean.

It isn't referenced in any way. Please provide a link.
 


Examples as shown: 


I can't see any image. As others I prefer text-only messages, no
inline-images, no html etc.
Please attach them. I think this should be the default for a
mailinglist about coding.

I can look up your image at
http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html
[1]
but that's going on my nerves.

Nevertheless, some of the chord-symbols there are lilypond-default,
some not.

Use chord-exceptions for them.

-Harm

 


Den 17. jan. 2016 kl. 20.18 skrev Thomas Morley
:

2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann
:
Any news regarding this?

Well, what's "this"?
LilyPond exists, yes. There is no common definiton of "JazzChords".
So, no news. ;)
Maybe you may want to be a little more specific?

Cheers,
Harm




Links:
--
[1]
http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html

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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

Harm,

This is the original thread (sorry about that one, really thought answering the 
original thread brought up the history):

http://lists.gnu.org/archive/html/lilypond-user/2009-07/msg00274.html 

Here is a imgur link to the image I referenced (Also, chill. I'm only asking 
for help. We are not mind readers, hard to know what you prefer or not.)

http://i.imgur.com/crR5239.png

I have googled my ass off on how to get "jazz chords" properly formated. The 
lilypond manual 

 isn't exactly being straight about the matter. I do know it *should* be 
possible and i'm humbly asking for a hint at formating as shown in the picture 
i linked/sendt. It is hard procuring a minimal example when all i can do is 
produce a c:7.

> 17. jan. 2016 kl. 21.12 skrev Thomas Morley :
> 
> 
> 
> 2016-01-17 20:30 GMT+01:00 Carl-Henrik Buschmann  >:
> Sorry, thought the thread was referenced. 
> 
> I'm wondering if lilypond is able to notate complex chords, as discussed in 
> the before mentioned thread. 
> 
> I've still no clue which thread you mean.
> It isn't referenced in any way. Please provide a link.
>  
> Examples as shown: 
> 
> I can't see any image. As others I prefer text-only messages, no 
> inline-images, no html etc.
> Please attach them. I think this should be the default for a mailinglist 
> about coding.
> 
> I can look up your image at
> http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html
>  
> 
> but that's going on my nerves.
> 
> Nevertheless, some of the chord-symbols there are lilypond-default, some not.
> Use chord-exceptions for them.
> 
> -Harm
> 
>  
> 
> 
> 
> 
>> Den 17. jan. 2016 kl. 20.18 skrev Thomas Morley > >:
>> 
>> 2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann > >:
>>> Any news regarding this?
>> 
>> 
>> 
>> Well, what's "this"?
>> LilyPond exists, yes. There is no common definiton of "JazzChords".
>> So, no news. ;)
>> Maybe you may want to be a little more specific?
>> 
>> Cheers,
>> Harm
> 
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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Carl-Henrik,

> I have googled my ass off on how to get "jazz chords" properly formated. The 
> lilypond manual isn't exactly being straight about the matter. I do know it 
> *should* be possible and i'm humbly asking for a hint at formating as shown 
> in the picture i linked/sendt.

Try this thread: 

Lots of good example code there, I [humbly] offer.

Hope this helps!
Kieren.


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‣ email: i...@kierenmacmillan.info


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Re: Lilypond and Jazz chords

[Blöchl Bernhard]

Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann:


http://i.imgur.com/crR5239.png [3]

I have googled my ass off on how to get "jazz chords" properly
formated.


What is "properly" formated? Where is your wrong formated code example?

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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Carl-Henrik,

Here’s a start for you.

Hope this helps!
Kieren.

  SNIPPET BEGINS
\version "2.19.35"
\language "english"

chordFlat = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \flat 
\hspace #0.2 }
chordSharp = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \sharp 
\hspace #0.2 }

jazzChords-markups = {
  -\markup \concat { "7" "(" \raise #2 \fontsize #-5 
\center-column { \concat { \chordSharp "11" } \concat { \chordFlat "9" } 
\concat { \chordSharp "5" } } ")" }
}

jazzChords-add = #(append (sequential-music-to-chord-exceptions 
jazzChords-markups #t) ignatzekExceptions)

\layout { \context { \Score chordNameExceptions = #jazzChords-add } }

chords-test = \chordmode {
  d1
  d1:m
  d1:7
  d1:7.5+.11+.9-
}

\score {
  <<
\new ChordNames \chords-test
\new Staff \chords-test
  >>
}

  SNIPPET ENDS


Kieren MacMillan, composer
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Re: Lilypond and Jazz chords

[Blöchl Bernhard]

I follow this nonsense thread just for entertainement with wild 
references to any-/something and found i. e

https://lists.gnu.org/archive/html/lilypond-user/2015-11/msg00950.html
and
https://lists.gnu.org/archive/html/lilypond-user/2015-11/pdfsKndJHU0dl.pdf

Two questions:
1. Why is Cm69 (ly) = C6/9 (BR)? Where is the "MI" gone? Is it kind of
implied? I don't see it.
(I omit the second)
Did you know, that the C6/9 Guitar Chord has alternate Names: Cmaj6/9, 
CM6/9, CMAJ6/9 - where is the minor
You might find that in google or in some serious jazz harmony books. If 
you are serieous working in music - check it and think about.


Which one do you think is the correct one? Do you really think that 
serous jazz musicians get skid whith such?




Am 17.01.2016 21:59, schrieb Blöchl Bernhard:

Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann:


http://i.imgur.com/crR5239.png [3]

I have googled my ass off on how to get "jazz chords" properly
formated.


What is "properly" formated? Where is your wrong formated code example?

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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

A properly formatet complex chord stacks alterations in parenthesis. Lilyponds 
default is:

\version "2.19.35"

\header {
  tagline = ""
}

ChordNames = \chordmode {
  \set majorSevenSymbol = \markup { maj7 }
  d:maj7.5+.9-.11+
}

upper = \relative c'{
  \clef G
  < d fis ais cis ees gis >1
}

lower = \relative c {
  \clef F
  d1
}

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

This is undesirable.

> 17. jan. 2016 kl. 21.59 skrev Blöchl Bernhard 
> :
> 
> Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann:
> 
>> http://i.imgur.com/crR5239.png [3]
>> I have googled my ass off on how to get "jazz chords" properly
>> formated.
> 
> What is "properly" formated? Where is your wrong formated code example?
> 
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Re: Lilypond and Jazz chords

[Blöchl Bernhard]

his is undesirable.


Quite interesting! Good night.

Am 17.01.2016 22:28, schrieb Carl-Henrik Buschmann:

A properly formatet complex chord stacks alterations in parenthesis.
Lilyponds default is:

\version "2.19.35"

\header {
  tagline = ""
}

ChordNames = \chordmode {
  \set majorSevenSymbol = \markup { maj7 }
  d:maj7.5+.9-.11+
}

upper = \relative c'{
  \clef G
  < d fis ais cis ees gis >1
}

lower = \relative c {
  \clef F
  d1
}

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

This is undesirable.

17. jan. 2016 kl. 21.59 skrev Blöchl Bernhard 
:


Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann:


http://i.imgur.com/crR5239.png [3]
I have googled my ass off on how to get "jazz chords" properly
formated.


What is "properly" formated? Where is your wrong formated code 
example?


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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

Thank you.

This is indeed a good start! However. How to adjust the lenght of the 
parenthesis? As of now they only encapsule 1/3 of the stack. I havent the 
foggiest on how to make them "flexible". 


> 17. jan. 2016 kl. 22.25 skrev Kieren MacMillan 
> :
> 
> Hi Carl-Henrik,
> 
> Here’s a start for you.
> 
> Hope this helps!
> Kieren.
> 
>   SNIPPET BEGINS
> \version "2.19.35"
> \language "english"
> 
> chordFlat = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \flat 
> \hspace #0.2 }
> chordSharp = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \sharp 
> \hspace #0.2 }
> 
> jazzChords-markups = {
>  -\markup \concat { "7" "(" \raise #2 \fontsize #-5 
> \center-column { \concat { \chordSharp "11" } \concat { \chordFlat "9" } 
> \concat { \chordSharp "5" } } ")" }
> }
> 
> jazzChords-add = #(append (sequential-music-to-chord-exceptions 
> jazzChords-markups #t) ignatzekExceptions)
> 
> \layout { \context { \Score chordNameExceptions = #jazzChords-add } }
> 
> chords-test = \chordmode {
>  d1
>  d1:m
>  d1:7
>  d1:7.5+.11+.9-
> }
> 
> \score {
>  <<
>\new ChordNames \chords-test
>\new Staff \chords-test
>>> 
> }
> 
>   SNIPPET ENDS
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
> 


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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

There are a few musicologist, you'd be suprised how many, that comes from jazz 
or popular music. Yes, I'm one of them. As far as i can see this Brandt & 
Roemer thing is a work in progress. I'm thankfull somebody seems to be working 
on it! 

There is however much to be done before chords in Lilypond are mature enough to 
use for jazz chord notation. I'm crossing my fingers that a lilypond-programmer 
reads this and takes pity on us who needs this for our work.


> 17. jan. 2016 kl. 22.25 skrev Blöchl Bernhard 
> :
> 
> I follow this nonsense thread just for entertainement with wild references to 
> any-/something and found i. e
> https://lists.gnu.org/archive/html/lilypond-user/2015-11/msg00950.html
> and
> https://lists.gnu.org/archive/html/lilypond-user/2015-11/pdfsKndJHU0dl.pdf
> 
> Two questions:
> 1. Why is Cm69 (ly) = C6/9 (BR)? Where is the "MI" gone? Is it kind of
> implied? I don't see it.
> (I omit the second)
> Did you know, that the C6/9 Guitar Chord has alternate Names: Cmaj6/9, CM6/9, 
> CMAJ6/9 - where is the minor
> You might find that in google or in some serious jazz harmony books. If you 
> are serieous working in music - check it and think about.
> 
> Which one do you think is the correct one? Do you really think that serous 
> jazz musicians get skid whith such?
> 
> 
> 
> Am 17.01.2016 21:59, schrieb Blöchl Bernhard:
>> Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann:
>>> http://i.imgur.com/crR5239.png [3]
>>> I have googled my ass off on how to get "jazz chords" properly
>>> formated.
>> What is "properly" formated? Where is your wrong formated code example?
>> ___
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>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Blöchl,

> 1. Why is Cm69 (ly) = C6/9 (BR)? Where is the "MI" gone? Is it kind of 
> implied? I don't see it.

If you followed the thread further, you’d see that it was an error: the “MI” 
is, of course, supposed to be there.
That error been fixed in my [private] copy, which I am continuing to develop 
with the intention of releasing publicly when it’s ready.

Regards,
Kieren.


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‣ email: i...@kierenmacmillan.info


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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Carl-Henrik,

> As far as i can see this Brandt & Roemer thing is a work in progress.

Indeed.

> I'm thankfull somebody seems to be working on it! 

You’re welcome.  =)

> There is however much to be done before chords in Lilypond are mature enough 
> to use for jazz chord notation.

I don’t think anybody argues that point.

> I'm crossing my fingers that a lilypond-programmer reads this and takes pity 
> on us who needs this for our work.

One of the reasons I’m developing the B&R stylesheet is that it is the most 
complete and logical *organization* of chords that I've ever found. (The actual 
*naming*, on the other hand… well…)

Once the file is complete — including all programming (Scheme functions, etc.) 
necessary to make the B&R stylesheet work as intended — and it passes some 
vetting/consensus process in the Lilypond community, I’m hoping it will become 
the template for a rapid proliferation of chord-naming stylesheets, which will 
naturally include more conventional/accepted naming schemes.

Best regards,
Kieren.


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‣ email: i...@kierenmacmillan.info


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Re: Lilypond and Jazz chords

[Tim McNamara]

> On Jan 17, 2016, at 3:28 PM, Carl-Henrik Buschmann  
> wrote:
> 
> A properly formatet complex chord stacks alterations in parenthesis.

Hemmm, that is a matter of individual preferences.  As a jazz musician I find 
parentheses in chords add to the visual clutter and add no useful information.  
More characters add more confusion.  Cmaj7#4 is less trouble to read than 
Cmaj7(#4) on the bandstand in an unfamiliar tune.

Of course 90% of the extensions that are written on lead sheets are ignored 
anyway in favor of what the musician’s ear tells him or her what to play.  
Composers should generally save themselves the bother.
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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

While i might agree with you to some extent this is also a practial matter: 

1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter of 
culture and personal taste. But consider the following: A C7, a dominant, might 
tell a performing musician lots but when dealing with academic and analysis it 
is quite thin if the actual sounding timbre is a C13(b9), also a dominant, but 
allowed for when performing certain styles. What the composer/arranger chooses 
to do, is a different case than the needs of the academic (and specific 
composer/arranger).

2) There is also the matter of spacing. Cmaj7 #5 b9 #11/F# is stealing a whole 
system! That is insane (in the membrane!) and i stand by my statement that the 
default output of lilypond is undesirable.

Both Sibelius and Finale have a comprehensive libraries of chords 
 and while not to everybodys taste, it does 
pave the way for a good default. The people of Sib and Fin have done theire 
homework. Sibelius perhaps even more so regarding chords. Perhaps it is 
possible to look what have already been done? 


> 17. jan. 2016 kl. 23.00 skrev Tim McNamara :
> 
> 
>> On Jan 17, 2016, at 3:28 PM, Carl-Henrik Buschmann  
>> wrote:
>> 
>> A properly formatet complex chord stacks alterations in parenthesis.
> 
> Hemmm, that is a matter of individual preferences.  As a jazz musician I find 
> parentheses in chords add to the visual clutter and add no useful 
> information.  More characters add more confusion.  Cmaj7#4 is less trouble to 
> read than Cmaj7(#4) on the bandstand in an unfamiliar tune.
> 
> Of course 90% of the extensions that are written on lead sheets are ignored 
> anyway in favor of what the musician’s ear tells him or her what to play.  
> Composers should generally save themselves the bother.

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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Tim,

> that is a matter of individual preferences.

Agreed.

> Cmaj7#4 is less trouble to read than Cmaj7(#4) on the bandstand in an 
> unfamiliar tune.

Disagreed.

> 90% of the extensions that are written on lead sheets are ignored anyway in 
> favor of what the musician’s ear tells him or her what to play.

Agreed.

> Composers should generally save themselves the bother.

If you mean composers (or, really, engravers) should save themselves the bother 
of writing chord names, I disagree.

If you mean there is a point of diminishing marginal utility on the number of 
“extras” that are useful in chord naming, I agree.
But then we are, to some extent, back to "individual preference” (cf. the top 
of your email).

Regards,
Kieren.


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‣ email: i...@kierenmacmillan.info


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Re: Lilypond and Jazz chords

[Thomas Morley]

2016-01-17 22:28 GMT+01:00 Carl-Henrik Buschmann :

Thanks for code and links!

> A properly formatet complex chord stacks alterations in parenthesis.

Well, I disagre - at least as a general verdict.

> Lilyponds default is
> [...] undesirable.

Ofcourse I disagree again, ;)
Though, there are so many opinions about that topic...

The main problem is that current LilyPond-default is very hard to
tweak, apart from doing exceptions as Kieren already demonstrated.

I once started rewriting chordnames. [1]
Finally it aimed at easy user-tweakable formatting.
I got distracted by other urgent lily-issues and real-life duties and
didn't continue.
Maybe, I'll get back to it once ...

Cheers,
  Harm

[1]
https://sourceforge.net/p/testlilyissues/issues/4344/

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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Harm,

> The main problem is that current LilyPond-default is very hard to tweak

+1^10
[sic]  ;)

> I once started rewriting chordnames. [1]
> Finally it aimed at easy user-tweakable formatting.
> Maybe, I'll get back to it once …

If you’re serious about doing it in the near future, please let me know!
I could definitely use someone like you on The Team (which, right now, seems to 
be Me).

Thanks,
Kieren.


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‣ email: i...@kierenmacmillan.info


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Re: Lilypond and Jazz chords

[Simon Albrecht]

On 17.01.2016 22:35, Carl-Henrik Buschmann wrote:

Thank you.

This is indeed a good start! However. How to adjust the lenght of the parenthesis? As of 
now they only encapsule 1/3 of the stack. I havent the foggiest on how to make them 
"flexible".


You might have a look in the NR, section A.11 ‘Available markup 
commands’, or D ‘LilyPond command index’.

For some more hints see below…





17. jan. 2016 kl. 22.25 skrev Kieren MacMillan :

Hi Carl-Henrik,

Here’s a start for you.

Hope this helps!
Kieren.

  SNIPPET BEGINS
\version "2.19.35"
\language "english"

chordFlat = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \flat 
\hspace #0.2 }
chordSharp = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \sharp 
\hspace #0.2 }

jazzChords-markups = {
  -\markup \concat { "7" "(" \raise #2 \fontsize #-5 \center-column { \concat { \chordSharp 
"11" } \concat { \chordFlat "9" } \concat { \chordSharp "5" } } ")" }
}


How about:

jazzChords-markups = {
  -\markup
  \concat {
"7"
\parenthesize
\raise #2
\fontsize #-5
\center-column {
  \concat { \chordSharp "11" }
  \concat { \chordFlat "9" }
  \concat { \chordSharp "5" }
}
  }
}

Note the effect of sensible code formatting – it can’t be emphasised 
often enough…


Yours, Simon



jazzChords-add = #(append (sequential-music-to-chord-exceptions 
jazzChords-markups #t) ignatzekExceptions)

\layout { \context { \Score chordNameExceptions = #jazzChords-add } }

chords-test = \chordmode {
  d1
  d1:m
  d1:7
  d1:7.5+.11+.9-
}

\score {
  <<
\new ChordNames \chords-test
\new Staff \chords-test
}

  SNIPPET ENDS


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



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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Simon,

> Note the effect of sensible code formatting – it can’t be emphasised often 
> enough…

I actually had it that way in my example, but decided to put it on one line to 
save vertical space in the post.

Cheers,
Kieren.


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temporarily escaping chordmode

[Kieren MacMillan]

Hello all,

If I’ve want to explicitly enter a chord in a chordmode block, e.g.,

  \chordmode {
c1
d1:m6

  }

what’s the incantation?

Thanks,
Kieren.


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‣ email: i...@kierenmacmillan.info


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Re: temporarily escaping chordmode

[Thomas Morley]

2016-01-18 2:00 GMT+01:00 Kieren MacMillan :
> Hello all,
>
> If I’ve want to explicitly enter a chord in a chordmode block, e.g.,
>
>   \chordmode {
> c1
> d1:m6
> 
>   }
>
> what’s the incantation?
>
> Thanks,
> Kieren.



Hi Kieren,

not sure what you mean.

\version "2.19.35"

m =
  \chordmode {
c1
d1:m6

  }

<<
  \new ChordNames \m
  \new Staff \m
>>

works.

Cheers,
  Harm

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Re: temporarily escaping chordmode

[Kieren MacMillan]

Hi Harm,

D'oh… It was a \language versus \include problem: I switched the language to 
“english", but then included a file that switched the language back to 
“nederlands”. Then the “ef” in that chord threw an error.

Sorry for the noise.
Kieren.


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


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Re: Lilypond and Jazz chords

[timmcn]

> On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann  
> wrote:
> 
> While i might agree with you to some extent this is also a practial matter: 
> 
> 1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter 
> of culture and personal taste. But consider the following: A C7, a dominant, 
> might tell a performing musician lots but when dealing with academic and 
> analysis it is quite thin if the actual sounding timbre is a C13(b9), also a 
> dominant, but allowed for when performing certain styles. What the 
> composer/arranger chooses to do, is a different case than the needs of the 
> academic (and specific composer/arranger).

Perhaps.  Musicality and practicality often seem secondary in academic pursuits 
as it is the idea that seems primary, not the resultant. 13b9 chords are common 
enough in jazz, though, although practically speaking in improvisation it is 
often more fruitful to think of them as a polychord- C7 with A major triad 
superimposed in this case- as this offers more options.

> 2) There is also the matter of spacing. Cmaj7 #5 b9 #11/F# is stealing a 
> whole system! That is insane (in the membrane!) and i stand by my statement 
> that the default output of lilypond is undesirable.

Which is why you can create chord exceptions to the default behavior.

Excessive definition of chords restricts the freedom of the musician- for jazz, 
maximizing freedom is more useful.

> Both Sibelius and Finale have a comprehensive libraries of chords and while 
> not to everybodys taste, it does pave the way for a good default. The people 
> of Sib and Fin have done theire homework. Sibelius perhaps even more so 
> regarding chords. Perhaps it is possible to look what have already been done? 

Their code is proprietary, unlike Lilypond, and it may be that one of those 
applications would be more suitable for your needs.  Indeed, given the 
expectations of the academic and publishing worlds it would probably be 
required that you submit the piece as a Finale or Sibelius file in any event.  
Ideally Lilypond should be able to use a variety of chord rendering formats, 
but given that it is developed largely by unpaid volunteers it may take a while 
to get there.
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Re: Lilypond and Jazz chords

[timmcn]

> On Jan 17, 2016, at 4:18 PM, Kieren MacMillan  
> wrote:
> 
> Hi Tim,
> 
>> that is a matter of individual preferences.
> 
> Agreed.
> 
>> Cmaj7#4 is less trouble to read than Cmaj7(#4) on the bandstand in an 
>> unfamiliar tune.
> 
> Disagreed.
> 
>> 90% of the extensions that are written on lead sheets are ignored anyway in 
>> favor of what the musician’s ear tells him or her what to play.
> 
> Agreed.
> 
>> Composers should generally save themselves the bother.
> 
> If you mean composers (or, really, engravers) should save themselves the 
> bother of writing chord names, I disagree.
> 
> If you mean there is a point of diminishing marginal utility on the number of 
> “extras” that are useful in chord naming, I agree.

That is my point- at least in jazz performance.  The needs of academics may be 
different (although I would argue that it would often be simpler and more 
accurate to define many of the chords with lots of tensions and extensions as 
polychords rather than cobbling together a numerical stew of a tetrad with six 
modifiers following.  That said, I am not sure that Lilypond handles polychords 
gracefully either).

> But then we are, to some extent, back to "individual preference” (cf. the top 
> of your email).

Yep- and perhaps the context of intended use as well.  An doctoral candidate 
submitting an analysis of jazz performance or a theoretical composition is 
paddling a different boat than the jazz musician on stage.
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Re: Lilypond and Jazz chords

[Kieren MacMillan]

Hi Tim,

> I am not sure that Lilypond handles polychords gracefully either

It doesn’t, as far as I can tell.
Improving that situation is part of my goal with my B&R stylesheet effort (as 
they explicitly consider polychords).

> An doctoral candidate submitting an analysis of jazz performance or a 
> theoretical composition is paddling a different boat than the jazz musician 
> on stage.

Definitely!
I’m hoping that, once I’m done with this chord-names project, both will be able 
to use Lilypond easily

Cheers,
Kieren.


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


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Re: temporarily escaping chordmode

[Simon Albrecht]

On 18.01.2016 02:00, Kieren MacMillan wrote:

Hello all,

If I’ve want to explicitly enter a chord in a chordmode block, e.g.,

   \chordmode {
 c1
 d1:m6
 
   }

what’s the incantation?


In case you should need that for which you initially asked :-) – there’s 
\notemode {}. Normally implicit, it can be used in special situations 
such as this.


Yours, Simon

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Re: smallest possible bounding box

[David Wright]

On Sun 17 Jan 2016 at 12:30:57 (+0100), Carl-Henrik Buschmann wrote:
> > 17. jan. 2016 kl. 12.22 skrev Simon Albrecht :
> > 
> > On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
> >> 
> >> 2) I need to export pngs for my latex documents and i would like the 
> >> bounding box to be as small as possible. How do i do this?
> > 
> > It’s not quite clear what you want. Perhaps:
> > \paper {
> >  top-margin = 0
> >  bottom-margin = 0
> >  left-margin = 0
> >  right-margin = 0
> > }
> > ?
> > 
> > Best, Simon
> 
> When making snippets I dont need the entire A4 paper, i just need the music. 
> The bounding box is the area exported, or cropped if you like. In Sibelius i 
> can check a box and it eliminates all unnecessary white space.

Years ago, I made some snippets with PNG, and was most disappointed:
they're not crisp enough. I think I used ImageMagick (ie convert) to
trim off the white space (tagline = ##f, of course.)

I switched to PDFs and use pdfcrop to the same end. It's not as tight,
but that doesn't worry me unduly. It's the resolution that matters.
Attached is the cropped output of:

\header { tagline = ##f }
\markup { \flat }

Whether you can include PDFs in LaTeX source depends on how you
process it, of course. Currently I use \includegraphics in LuaLaTeX;
previously I have used pdflatex in the same way. (I output to PDF,
not DVI.)

Cheers,
David.


flat.pdf
Description: Adobe PDF document
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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

> 18. jan. 2016 kl. 02.40 skrev tim...@bitstream.net:
> 
>> 
>> On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann  
>> wrote:
>> 
>> While i might agree with you to some extent this is also a practial matter: 
>> 
>> 1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter 
>> of culture and personal taste. But consider the following: A C7, a dominant, 
>> might tell a performing musician lots but when dealing with academic and 
>> analysis it is quite thin if the actual sounding timbre is a C13(b9), also a 
>> dominant, but allowed for when performing certain styles. What the 
>> composer/arranger chooses to do, is a different case than the needs of the 
>> academic (and specific composer/arranger).
> 
> Perhaps.  Musicality and practicality often seem secondary in academic 
> pursuits as it is the idea that seems primary, not the resultant. 13b9 chords 
> are common enough in jazz, though, although practically speaking in 
> improvisation it is often more fruitful to think of them as a polychord- C7 
> with A major triad superimposed in this case- as this offers more options.

While i agree on this way of thinking *practically* makes a lot of sense. But 
you are talking about changing a whole culture of thinking. To sum up: Stacked 
chords are useful for in some musical settings but it is not the future as of 
yet as they do not display function.

Although the ever singing chorus here on lilypond-user is that there is no 
agreed apon conventions in chords, i disagree both as a musician and a scholar. 
The way to notate jazz/pop chords are established thoroughly through the "real 
book" series and others. 

Kieren is thankfully working on this and i hope the brains that code for 
lilypond can bash heads together and at least give us a *working* solution and 
stop bickering over personal preferences that only hinder the development. 

> 
>> 2) There is also the matter of spacing. Cmaj7 #5 b9 #11/F# is stealing a 
>> whole system! That is insane (in the membrane!) and i stand by my statement 
>> that the default output of lilypond is undesirable.
> 
> Which is why you can create chord exceptions to the default behavior.
> 
> Excessive definition of chords restricts the freedom of the musician- for 
> jazz, maximizing freedom is more useful.

I see your point and I agree.

> 
>> Both Sibelius and Finale have a comprehensive libraries of chords and while 
>> not to everybodys taste, it does pave the way for a good default. The people 
>> of Sib and Fin have done theire homework. Sibelius perhaps even more so 
>> regarding chords. Perhaps it is possible to look what have already been 
>> done? 
> 
> Their code is proprietary, unlike Lilypond, and it may be that one of those 
> applications would be more suitable for your needs.  Indeed, given the 
> expectations of the academic and publishing worlds it would probably be 
> required that you submit the piece as a Finale or Sibelius file in any event. 
>  Ideally Lilypond should be able to use a variety of chord rendering formats, 
> but given that it is developed largely by unpaid volunteers it may take a 
> while to get there.

I'm not talking about code, i'm talking about style. And by the looks of it 
Sibelius at least have by and large been inspired by B&R. But as you said, 
predefined is not the way to go. Even so, look at what they have done and 
simply mimick the behaviour. "Great artists steal".  

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