layout scope

[BB]

In the added example I want to have one noteline with bar lines the 
second noteline without bar lines.


How can I restrict the scope of \layout{} to only one \score{}?

 \version "2.18.0"

#(set-global-staff-size 30)

a-pent = {

\relative c {

\clef bass

\key a \major

a b cis e fis a a fis e cis b a

}

}

a-bseven-pent = {

\relative c {

\clef bass

\key a \major

a b cis e fis g a a g fis e cis b a

}

}

\layout {

indent = 4\cm

\omit Stem

\context {

\Score

defaultBarType = ""

}

}

\score {

<<

\new Staff { \a-pent-four}

>>

}

\score {

<<

\new Staff { \a-bseven-pent-four}

>>

} 

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Fwd: layout scope correction

[BB]

 Forwarded Message 
Subject:layout scope
Date:   Tue, 8 Mar 2016 13:53:30 +0100
From:   BB 
To: lilypond-user Mailinglist 



In the added example I want to have one noteline with bar lines the 
second noteline without bar lines.


How can I restrict the scope of \layout{} to only one \score{}?

*Sorry, the code in my former post was errounous! Here the correctly 
compiling code: *


 \version "2.18.0" 
#(set-global-staff-size 30) %%% Systemgröße a-pent = { \relative c { 
\clef bass \key a \major a b cis e fis a a fis e cis b a } } 
a-bseven-pent = { \relative c { \clef bass \key a \major a b cis e fis g 
a a g fis e cis b a } } \layout { indent = 4\cm \omit Stem \context { 
\Score defaultBarType = "" } } \score { << \new Staff { \a-pent} >> } 
\score { << \new Staff { \a-bseven-pent} >> } 





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Re: layout scope

[Malte Meyn]

Am 08.03.2016 um 13:53 schrieb BB:

How can I restrict the scope of \layout{} to only one \score{}?


Just put the \layout block into the \score block. Same for \midi:

\score {
  [MUSIC]
  \layout { […] }
  \midi { […] }
}

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Re: layout scope

[Andrew Bernard]

Hi BB,

Section 4.2.1 on the \layout block in the NR explains this.

Andrew


On 8/03/2016, 23:53, "BB" 
 wrote:


How can I restrict the scope of \layout{} to only one \score{}? 

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Re: MIDI "volume"

[Gilberto Agostinho]

Hi all,


Heikki Tauriainen wrote
> I've observed that LilyPond actually emits CC#7 events to a generated
> MIDI file on dynamic (MIDI velocity) changes created by the
> Dynamic_performer, but these CC#7 changes seem to always just set the
> MIDI volume to 100 (in the range from 0 to 127).  To me this looks like
> a possible bug (and could be just a remnant of the implementation prior
> to 2.14), but this is only my personal opinion...

Yes, this also looks like a possible bug to me, and the point is that it's
quite annoying: for instance, if you import a LilyPond generated MIDI file
to a DAW and use some VST instruments for playback, all these CC7 events
keep overriding any modifications you do to the instrument volumes. So you
can't simply balance the sound in the VST interface, but you have to somehow
edit these CC7 manually for each track, which is a pain...

Cheers,
Gilberto



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Re: layout scope

[BB]

Thank you, works!

On 08.03.2016 14:03, Malte Meyn wrote:

Am 08.03.2016 um 13:53 schrieb BB:

How can I restrict the scope of \layout{} to only one \score{}?


Just put the \layout block into the \score block. Same for \midi:

\score {
  [MUSIC]
  \layout { […] }
  \midi { […] }
}

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Re: Help with fonts from a blind user

[Stephen MacNeil]

This assumes one has a file  manager that is a GUI  (it's hard to do
this in say midnight commander or xterm)

for those without you can cd to your lilypond directory and put the fonts
there.

I use

cd /usr/local/lilypond-current/lilypond/usr/share/lilypond/current/fonts/

ls

otf  svg

HTH
STephen
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Re: Help with fonts from a blind user

[Stephen MacNeil]

that said i don't even have icons so.

Stephen
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music patterns and octave

[Gianmaria Lari]

Suppose you have this:

[image: Inline image 2]

This is something like

\fragment d d
\fragment c e
\fragment e c


So, more precisely I would write:

\version "2.19.35"

pattern =
{
   c16 d e f g a b c
}

\relative c'
{
  \pattern d4 d4
  \pattern c4 e4
  \pattern e4 c4
}


But the previous code generate:

[image: Inline image 1]

So I played a bit with "\absolute" and at the end I have been able to fix
the issue. Here it is the code:

\version "2.19.35"

pattern = \absolute
{
   c'16 d' e' f' g' a' b' c''
}

\relative c''
{
  \pattern d4 d4
  \pattern c4 e4
  \pattern e4 c4
}


Unfortunately this solution does not work well with "\changePitch" (that I
need). I also tried setting the pattern in the following way:

pattern = *\relative c'*
{
   c16 d e f g a b c
}


but it also does not work because the scope of "\relative " ends at the end
of the expression (if I understood correctly).

Any suggestion? does exist any command to simply set the octave of the next
note?

Thank you, g.
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Re: Piece/instrument names choice

[Menu Jacques]

Hello Simon,

Thanks for pinpointing the use of bookTitleMarkup, which I had overlooked.

The main problem though is that I have to assign the instrument name to « poet 
», and the piece name to « instrumentName ».

That’s what seems not too clean to me…

JM

> Le 7 mars 2016 à 14:46, Simon Albrecht  a écrit :
> 
> On 07.03.2016 14:39, Menu Jacques wrote:
>> Hello folks,
>> 
>> I’m re-scoring the bassoon parts of Spohr’s first clarinet concerto, whose 
>> originals are hard to read.
>> 
>> They start with movement and instrument names placed this way:
> 
> Try redefining the paper variable bookTitleMarkup, as explained here: 
> .
>  Using \on-the-fly you can customise it as you like. I hope that gets you 
> going (without an actual example), else just ask again.
> 
> Best, Simon
> 
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Re: music patterns and octave

[BB]

pattern =
\relative c' {
{
   c16 d e f g a b c
}
}
\relative c'
{
  \pattern d'4 d4
  \pattern c4 e4
  \pattern e4 c4
}

On 08.03.2016 17:45, Gianmaria Lari wrote:

Suppose you have this:

Inline image 2

This is something like

\fragment d d
\fragment c e
\fragment e c


So, more precisely I would write:

\version "2.19.35"

pattern =
{
   c16 d e f g a b c
}

\relative c'
{
  \pattern d4 d4
  \pattern c4 e4
  \pattern e4 c4
}


But the previous code generate:

Inline image 1

So I played a bit with "\absolute" and at the end I have been able to 
fix the issue. Here it is the code:


\version "2.19.35"

pattern = \absolute
{
   c'16 d' e' f' g' a' b' c''
}

\relative c''
{
  \pattern d4 d4
  \pattern c4 e4
  \pattern e4 c4
}


Unfortunately this solution does not work well with "\changePitch" 
(that I need). I also tried setting the pattern in the following way:


pattern = *\relative c'*
{
   c16 d e f g a b c
}


but it also does not work because the scope of "\relative " ends at 
the end of the expression (if I understood correctly).


Any suggestion? does exist any command to simply set the octave of the 
next note?


Thank you, g.



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Re: Piece/instrument names choice

[Kieren MacMillan]

Hi Jacques,

> I have to assign the instrument name to « poet », and the piece name to « 
> instrumentName ».
> That’s what seems not too clean to me…

You don’t HAVE to assign those that way… You can simply redefine 
bookTitleMarkup (or scoreTitleMarkup, as you wish) to reflect exactly what you 
want, e.g.,

  SNIPPET BEGINS
\version "2.19.36"

\paper {
  scoreTitleMarkup = ##f
  bookTitleMarkup = \markup \override #'(baseline-skip . 4) \fill-line {
\center-column {
  \abs-fontsize #21 \fromproperty #'header:title
  \fill-line {
\abs-fontsize #15 \fromproperty #'header:instrument
\override #'(baseline-skip . 3) \center-column {
  \abs-fontsize #15 \fromproperty #'header:key-for-title
  \abs-fontsize #14 \fromproperty #'header:opus
}
\override #'(baseline-skip . 2.25) \center-column {
  \abs-fontsize #12 \fromproperty #'header:composer
  \abs-fontsize #10 \concat { ( \fromproperty #'header:catalogue-number 
) }
}
  }
}
  }
}

\header {
  title = "CLARINET CONCERTO NO. 1"
  key-for-title = "C Minor"
  opus = "Op. 26"
  instrument = "Bassoon II"
  composer = "L. Spohr"
  catalogue-number = "00841"
}

\score {
  { c''1 }
}
  SNIPPET ENDS

Hope that helps!
Kieren.


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


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Re: music patterns and octave

[David Wright]

On Tue 08 Mar 2016 at 17:45:35 (+0100), Gianmaria Lari wrote:
>[...]
>So, more precisely I would write:
> 
>  \version "2.19.35"
>  pattern =
>  {
>     c16 d e f g a b c
>  }
>  \relative c' 
>  {
>    \pattern d4 d4
>    \pattern c4 e4
>    \pattern e4 c4
>  }
> 
>But the previous code generate:
>[...]
>So I played a bit with "\absolute" and at the end I have been able to fix
>the issue.

I don't know what the issue is that you "fixed".

>Here it is the code:
> 
>  \version "2.19.35"
>  pattern = \absolute
>  {
>     c'16 d' e' f' g' a' b' c''
>  }
>  \relative c'' 
>  {
>    \pattern d4 d4
>    \pattern c4 e4
>    \pattern e4 c4
>  }
> 
>Unfortunately this solution does not work well with "\changePitch" (that I
>need).

Now here's a clue as to what you're trying to do. Looking at the
changePitch documentation, patterns are only used as the first
argument to a \changePitch function:
\changePitch pattern newnotes
Judging by its purpose, I would assume (short of testing it) that the
pattern has an _implied_ \relative{} around it.

What one doesn't do, but you are trying to do, is typeset the pattern
itself directly into a score. All that your examples here are doing is to
demonstrate the rules that LilyPond uses to interpret notes within
{ ... } \relative { ... } \absolute { ... }

So the pattern's notes themselves are never seen in the score: they're
replaced by the notes in the second argument (newnotes). That does
mean that we expect to see \include "changePitch.ly" in any compilable
examples you post.

Cheers,
David.

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I'm not smart enough to figure out the math for this.

[Michael Rivers]

I'm trying to make a snippet for students with intentional mistakes for them
to correct. I want the time signature to say 4/3, but for the music to
actually be in 3/4. Should I use "scaleDurations", and what should the ratio
be? Or is there a better way to do this?

\version "2.19.24"

\relative c' { \time 4/3 
   c4 c c | c c c } 



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Re: I'm not smart enough to figure out the math for this.

[Kieren MacMillan]

Hi Michael,

> I want the time signature to say 4/3, but for the music to actually be in 3/4.

In this case, you can simply override the fraction and ignore the error:

\version "2.19.24"

\relative c' {
  \time 3/4
  \set Staff.timeSignatureFraction = 4/3
  c4 c c | c c c
}

Hope that helps!
Kieren.


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


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Re: I'm not smart enough to figure out the math for this.

[Mike Solomon]

> On 08 Mar 2016, at 22:00, Michael Rivers  wrote:
> 
> I'm trying to make a snippet for students with intentional mistakes for them
> to correct. I want the time signature to say 4/3, but for the music to
> actually be in 3/4. Should I use "scaleDurations", and what should the ratio
> be? Or is there a better way to do this?
> 
> \version "2.19.24"
> 
> \relative c' { \time 4/3 
>   c4 c c | c c c } 
> 

\relative c' {
  \time 4/3
  a4*16/9 a4*16/9 a4*16/9 | 
}

16/9 comes from first scaling quarter notes to 4/3 (so that 4 would fit in a 
bar of 4/3) and then scaling again by 4/3 so that 3 would fit in a bar (like 
triplets).

Cheers,
MS
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Re: I'm not smart enough to figure out the math for this.

[David Kastrup]

Michael Rivers  writes:

> I'm trying to make a snippet for students with intentional mistakes for them
> to correct. I want the time signature to say 4/3, but for the music to
> actually be in 3/4. Should I use "scaleDurations", and what should the ratio
> be? Or is there a better way to do this?
>
> \version "2.19.24"
>
> \relative c' { \time 4/3 
>c4 c c | c c c } 

\version "2.19.24"

\scaleDurations 16/9
\relative c' { \time 4/3 
   c4 c c | c c c } 

Expect a warning.

-- 
David Kastrup
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Re: I'm not smart enough to figure out the math for this.

[Blöchl Bernhard]

May be you need some private coaching in waltz math ?
Here iot is:

\relative c' { \time 3/4
  c4 c c | c c c
}

Am 08.03.2016 21:00, schrieb Michael Rivers:
I'm trying to make a snippet for students with intentional mistakes for 
them

to correct. I want the time signature to say 4/3, but for the music to
actually be in 3/4. Should I use "scaleDurations", and what should the 
ratio

be? Or is there a better way to do this?

\version "2.19.24"

\relative c' { \time 4/3
   c4 c c | c c c }



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Re: I'm not smart enough to figure out the math for this.

[Simon Albrecht]

On 08.03.2016 21:19, Blöchl Bernhard wrote:

May be you need some private coaching in waltz math ?
Here it is:

\relative c' { \time 3/4
  c4 c c | c c c
} 


Bernhard, what the heck do you think you’re up to?
Please _read_ others’ posts before sneering at them, or better just quit 
the sneering.
Michael wrote that he wanted a _printed_ time signature of 4/3, for 
teaching purposes.


Regards, Simon

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Re: I'm not smart enough to figure out the math for this.

[Michael Rivers]

Thanks for the solutions. I'm OK with an error message!



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Re: MIDI "volume"

[Heikki Tauriainen]

On Tuesday, 2016-03-08 at 06:35 -0700, Gilberto Agostinho wrote:
> Hi all,
> 
> 
> Heikki Tauriainen wrote
> > I've observed that LilyPond actually emits CC#7 events to a
> > generated
> > MIDI file on dynamic (MIDI velocity) changes created by the
> > Dynamic_performer, but these CC#7 changes seem to always just set
> > the
> > MIDI volume to 100 (in the range from 0 to 127).  To me this looks
> > like
> > a possible bug (and could be just a remnant of the implementation
> > prior
> > to 2.14), but this is only my personal opinion...
> 
> Yes, this also looks like a possible bug to me, and the point is that
> it's
> quite annoying: for instance, if you import a LilyPond generated MIDI
> file  
> to a DAW and use some VST instruments for playback, all these CC7
> events
> keep overriding any modifications you do to the instrument volumes.
> So you
> can't simply balance the sound in the VST interface, but you have to
> somehow
> edit these CC7 manually for each track, which is a pain...
> 
> Cheers,
> Gilberto
> 

You may be interested to know that there was an attempt to improve this
behavior just a few months ago, see .  The fix has been included in the unstable
releases since 2.19.36.

-- 
Heikki Tauriainen


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Re: Generation of Notation Videos with Lilypond Tool Chain

[Dr. Thomas Tensi]

Dear Joram, dear Richard,


thanks for the hints and for your nice comments! It seems
that a lot has improved since my first attempt in 2006 with
lilypond, timidity and avisynth.

I wrote:
> > [video rendering from lilypond has some limitations]
> > Another disadvantage is that tempo changes must be
> > supplied in a separate text file, because they cannot
> > easily be deduced from rendering data.

Richard wrote:
> Mathieu Demange found a way of extracting tempo changes see
> his work at
> https://gitlab.com/sigmate/lilypond-html-live-score

Joram wrote:
> And one particular link from the examples:
> http://www.youtube.com/watch?v=vDOZZzbfL00

This is really nice work, but to be honest, I find the
rolling variant shown in that video a bit distracting. The
advantage of having static pages is a real quiet picture
only seldomly changing when pages are turned.  This also
reduces video size significantly, because a maximum
compression can be used (almost all pictures are the same).

When you need positional information in that case, subtitles
can be optionally turned on.  In the current implementation
the time reference is "full measures", but, of course,
subdivisions (e.g. quarters) would be easy to implement.

And the data injection technique used by Mathieu is really
clever, but I am still looking for some intelligent way to
extract the tempo data without having an additional pass on
the input and without altering the input file in any way.

The postscript file is free, because it is produced anyway
when the PNG files are rendered, but it is difficult to
parse and, of course, subject to change.

For my current tool chain, the additional file with tempo
data is acceptable.  A lot more effort goes into the
audio rendering and postprocessing and most of my (pop)
pieces for stage have a really simple tempo track.

> HTH
> Richard

Yes, of course, thanks to both of you!  That gives me food
for thought on how to improve my toolchain.


  Best regards,

  Thomas

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Re: music patterns and octave

[Thomas Morley]

2016-03-08 17:45 GMT+01:00 Gianmaria Lari :

> Suppose you have this:
>
> [image: Inline image 2]
>
> This is something like
>
> \fragment d d
> \fragment c e
> \fragment e c
>
>
> So, more precisely I would write:
>
> \version "2.19.35"
>
> pattern =
> {
>c16 d e f g a b c
> }
>
> \relative c'
> {
>   \pattern d4 d4
>   \pattern c4 e4
>   \pattern e4 c4
> }
>
>
> But the previous code generate:
>
> [image: Inline image 1]
>
> So I played a bit with "\absolute" and at the end I have been able to fix
> the issue. Here it is the code:
>
> \version "2.19.35"
>
> pattern = \absolute
> {
>c'16 d' e' f' g' a' b' c''
> }
>
> \relative c''
> {
>   \pattern d4 d4
>   \pattern c4 e4
>   \pattern e4 c4
> }
>
>
> Unfortunately this solution does not work well with "\changePitch" (that I
> need). I also tried setting the pattern in the following way:
>
> pattern = *\relative c'*
> {
>c16 d e f g a b c
> }
>
>
> but it also does not work because the scope of "\relative " ends at the
> end of the expression (if I understood correctly).
>
> Any suggestion?
>

(1)
Please don't use inline-images, I'm not the only one always filtering them,
please attach them.

(2)
I've no idea about changePitch, it's not in the source. Please post (read:
attach) the code or a link to it.

(3)
You may be looking for make-relative, for an example see:
http://lsr.di.unimi.it/LSR/Item?id=465

In your use-case maybe:

\version "2.19.36"

pat = \relative c' {
   c16 d e f g a b c
}

pattern =
#(define-music-function (m) (ly:music?)
  (make-relative (pat) pat m))

\relative c  {
  \pattern \pat  d'4 d4
  \pattern \pat  c4 e4
  \pattern \pat  e4 c4
}

Can't be sure, without clue what you actually want to achieve, though.


> does exist any command to simply set the octave of the next note?
>

Maybe below, setting octave up or down:

\version "2.19.36"

setOtherPitchOctave =
#(define-music-function (oct-change m)(integer? ly:music?)
(if (music-is-of-type? m 'note-event)
(let* ((p (ly:music-property m 'pitch)))
#{
  \withMusicProperty #'pitch
#(ly:make-pitch
   (+ oct-change (ly:pitch-octave p))
   (ly:pitch-notename p)
   (ly:pitch-alteration p))
  $m
#})
m))


\relative c' {
c'' d e f
\setOtherPitchOctave -1
g a b c
}


Cheers,
  Harm
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reduce the beam width

[Federico Bruni]

Hi all

How can I (slightly) reduce the beam width in the attached example?


\version "2.19.37"

myMusic = \relative {
 cis'8\3\glissando \hideNotes \grace a \unHideNotes e'
 s1*3
}

\score {
 \new StaffGroup <<
   \new Staff { \clef "treble_8" \myMusic }
   \new TabStaff { \clef "moderntab" \new TabVoice \myMusic }
 >>
 \layout { indent = 0 }
}

\paper {
 ragged-right = ##f
}
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Re: I'm not smart enough to figure out the math for this.

[Simon Albrecht]

On 08.03.2016 22:06, Michael Rivers wrote:

Thanks for the solutions. I'm OK with an error message!


Or you can insert

#(ly:expect-warning "strange")

in your source.

Best, Simon

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Re: I'm not smart enough to figure out the math for this.

[Blöchl Bernhard]

Do not understand the signification to break the rules as you 
immediately get an error response of lilypond. But for education 
purposes ...


I hope Michael Rivers and the list will accept my apology.


Am 08.03.2016 21:41, schrieb Simon Albrecht:

On 08.03.2016 21:19, Blöchl Bernhard wrote:

May be you need some private coaching in waltz math ?
Here it is:

\relative c' { \time 3/4
  c4 c c | c c c
}


Bernhard, what the heck do you think you’re up to?
Please _read_ others’ posts before sneering at them, or better just
quit the sneering.
Michael wrote that he wanted a _printed_ time signature of 4/3, for
teaching purposes.

Regards, Simon


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Re: MIDI "volume"

[Gilberto Agostinho]

Hi Heikki,


Heikki Tauriainen wrote
> You may be interested to know that there was an attempt to improve this
> behavior just a few months ago, see  issues/issues/4730/>.  The fix has been included in the unstable
> releases since 2.19.36.

I just tested it and it works like a charm with REAPER. Thanks a lot for the
patch!

Cheers!
Gilberto



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Re: reduce the beam width

[Noeck]

Hi Federico,

> How can I (slightly) reduce the beam width in the attached example?

I guess what you are looking for is the beam thickness:
  \override Beam.beam-thickness = 0.3 % default is somewhere near 0.5
In your example:


\version "2.19.37"

myMusic = \relative {
  cis'8\3\glissando \hideNotes \grace a \unHideNotes e' s2
}

\score {
  \new StaffGroup <<
\new Staff { \clef "treble_8" \myMusic }
\new TabStaff { \clef "moderntab" \new TabVoice \myMusic }
  >>
  \layout {
indent = 0
\override Beam.beam-thickness = 0.4
  }
}

\paper {
  ragged-right = ##t
}

HTH,
Joram

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Re: reduce the beam width

[Noeck]

> somewhere near 0.5

By the help of this nice function [1]: The default beam-thickness is 0.48.

[1]: http://permalink.gmane.org/gmane.comp.gnu.lilypond.general/109563

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Re: reduce the beam width

[Andrew Bernard]

Hi Federico,

Do you actually mean the thickness of the beam, or the length of the beam? If 
the latter, use ragged-right = ##t to see what is happening.

Andrew


On 9/03/2016, 08:37, "Federico Bruni" 
 wrote:

Hi all

How can I (slightly) reduce the beam width in the attached example?


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Re: music patterns and octave

[Gianmaria Lari]

Ciao David,

let's put it in another way. Have a look to the attached image and please
suggest me how you would write the code to generate it.

Then please have a look to the code I *would* like to write to obtain it.
Do you know if does exist anything similar to "\setOctave"? Do you see any
logical mistake in trying to write it in this way? Sorry if the example is
not very simple, but I have not been able to make it better.

\version "2.19.35"
\include "changePitch.ly"

rhythmPattern = {a16 \tuplet 3/2 {a8 a a} a16 a8 a4 a4} % a complex rhythm

scoreViolinI = \relative c'
{
  \setOctave c' %this command is just an example and it does not exist!
  \changePitch \rhythmPattern {c d d d c b d e}
  f g a b
  c d e f
  \setOctave c'
  \changePitch \rhythmPattern {c d d d c b d e}
}

scoreViolinII = \relative c'
{
  \setOctave c'
  \changePitch \rhythmPattern {a b b b a b a a}
  f f a a
  c c f f
  \setOctave c'
  \relative c' \changePitch \rhythmPattern {a b b b a b a a}
}

\score
{
  <<
\new Staff \scoreViolinI
\new Staff \scoreViolinII
  >>
  \layout { }
}


On Tue, Mar 8, 2016 at 7:39 PM, David Wright 
wrote:

> On Tue 08 Mar 2016 at 17:45:35 (+0100), Gianmaria Lari wrote:
> >[...]
> >So, more precisely I would write:
> >
> >  \version "2.19.35"
> >  pattern =
> >  {
> > c16 d e f g a b c
> >  }
> >  \relative c'
> >  {
> >\pattern d4 d4
> >\pattern c4 e4
> >\pattern e4 c4
> >  }
> >
> >But the previous code generate:
> >[...]
> >So I played a bit with "\absolute" and at the end I have been able to
> fix
> >the issue.
>
> I don't know what the issue is that you "fixed".
>
> >Here it is the code:
> >
> >  \version "2.19.35"
> >  pattern = \absolute
> >  {
> > c'16 d' e' f' g' a' b' c''
> >  }
> >  \relative c''
> >  {
> >\pattern d4 d4
> >\pattern c4 e4
> >\pattern e4 c4
> >  }
> >
> >Unfortunately this solution does not work well with "\changePitch"
> (that I
> >need).
>
> Now here's a clue as to what you're trying to do. Looking at the
> changePitch documentation, patterns are only used as the first
> argument to a \changePitch function:
> \changePitch pattern newnotes
> Judging by its purpose, I would assume (short of testing it) that the
> pattern has an _implied_ \relative{} around it.
>
> What one doesn't do, but you are trying to do, is typeset the pattern
> itself directly into a score. All that your examples here are doing is to
> demonstrate the rules that LilyPond uses to interpret notes within
> { ... } \relative { ... } \absolute { ... }
>
> So the pattern's notes themselves are never seen in the score: they're
> replaced by the notes in the second argument (newnotes). That does
> mean that we expect to see \include "changePitch.ly" in any compilable
> examples you post.
>
> Cheers,
> David.
>
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Re: music patterns and octave

[Gianmaria Lari]

Ciao Thomas,

thank you for your suggestion about inline-images etc.

"changePitch" is an external function. This is a link to it:
http://gillesth.free.fr/Lilypond/changePitch/

Regarding you function setOtherPitchOctave, this is similar to what I was
thinking except that the parameter is not the "octave" but the "offset"
related to the current octave. Do you know if does exist something to set
the absolute "octave"?
g.
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Consist engraver within loop

[Urs Liska]

Hi all,

I want to write a wrapper function to "install" an engraver in a number
of contexts. It works pretty well, but I want to make it better.

This is what I have so far.

\version "2.19.38"

install =
#(define-scheme-function (contexts)(symbol-list?)
  
   (if (member 'Score contexts)
   #{
 \layout {
   \context {
 \Score
 \consists "Clef_engraver"
   }
 }
   #})
   (if (member 'Staff contexts)
   #{
 \layout {
   \context {
 \Staff
 \consists "Clef_engraver"
   }
 }
   #})
   (if (member 'Voice contexts)
   #{
 \layout {
   \context {
 \Voice
 \consists "Clef_engraver"
   }
 }
   #}))

\install Staff

{
  c'
}

Clef_engraver doesn't make real sense, it's just there to have something
compilable.
In order to complete that I would have to repeat the conditional for all
existing context - and wouldn't even catch custom contexts. So I would
like to iterate over the symbol list to consist the engraver in a
non-redundant manner. The problem is, I don't know how to get from the
symbols like 'Score to the \Score incantation. I think it should go
something like this:

   (for-each
(lambda (ctx)
  #{
\layout {
  \context {
% specify context from ctx
\consists "Clef_engraver"
  }
}
  #}
  )
contexts)

This should work once I can "resolve" the comment

Any pointers or solution would be appreciated
Urs

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Re: music patterns and octave

[Carl Sorensen]

On 3/8/16 5:20 PM, "Gianmaria Lari"  wrote:

>Ciao Thomas,
>thank you for your suggestion about inline-images etc.
>
>"changePitch" is an external function. This is a link to it:
>http://gillesth.free.fr/Lilypond/changePitch/
>
>Regarding you function setOtherPitchOctave, this is similar to what I was
>thinking except that the parameter is not the "octave" but the "offset"
>related to the current octave. Do you know if does exist something to set
>the absolute "octave"?
>g.
>
>
>

You can use the equal notation (see Octave Checks at
http://www.lilypond.org/doc/v2.18/Documentation/notation/changing-multiple-
pitches).

\relative {c'' d='}

will give d' instead of d'' for the second note.

I think this will do what you want.

HTH,

Carl


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Wide spacing after extremely long syllable

[markdblackwell]

After an extremely long syllable in the lyrics, the next measure's spacing is
quite wide, even with ragged-right.

In the tiny example below, the problematic measure (of two eighth notes)
comprises the word, "shine".

Before each of its eighth notes, I tried the following commands, but they
didn't shrink the problematic measure:

\once \override Score.SpacingSpanner.average-spacing-wishes = ##t
\once \override Score.SpacingSpanner.common-shortest-duration =
#(ly:make-moment 1/8)
\once \override Score.SpacingSpanner.base-shortest-duration =
#(ly:make-moment 1/8)
\once \override Score.SpacingSpanner.shortest-duration-space = #0.1
\once \override Score.SpacingSpanner.spacing-increment = #1.2

Although the following command shrinks the problematic measure, it also
places the second eighth note completely after the word, "shine"—which looks
bad:

   \once \override Score.SpacingSpanner.packed-spacing = ##t

How can I shrink the problematic measure (after the extremely long syllable)
to a more-normal spacing, while still aligning the word, "shine" under both
eighth notes (as normal)?

I prefer to keep the extremely long syllable and the problematic measure
together on the same system (line).

Here's the tiny example:

\version "2.19.37"
\paper {
  left-margin = 5\mm
  right-margin = 5\mm
  ragged-right = ##t
}
\layout {
  \context { \Staff
\remove "Time_signature_engraver"
  }
}
theLyrics = \lyricmode {
  \once \override LyricText.self-alignment-X = #LEFT
Rest_eternal_grant_unto_them,_O_Lord,_and_let_light_perpetual
shine on
}
notes = \relative c'' {
  \time 1/1
a1
  \time 2/8
a8[( c]) \break
  \time 1/4
a4
}
\score {
  <<
\new Staff
  \new Voice = "one" \notes
\new Lyrics \lyricsto "one" \theLyrics
  >>
}




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Re: music patterns and octave

[Patrick Karl]

> \
> Message: 2
> Date: Wed, 9 Mar 2016 01:20:47 +0100
> From: Gianmaria Lari 
> To: Thomas Morley 
> Cc: lilypond-user 
> Subject: Re: music patterns and octave
> 
> Do you know if does exist something to set
> the absolute "octave"?
> g.

%%% How about:

pattern =
   {
  c16 d e f g a b c
   }

{
   \relative c' {
   \pattern d4 d
   \resetRelativeOctave c'
   \pattern c4 e
   \resetRelativeOctave c'
   \pattern e4 c
   }
}


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Re: scale durations

[Craig Dabelstein]

Sorry gents, here is one more I can't work out.

The piece is in 9/8 but I need one instrument to play in 4/4. I have no
idea how to work out that fraction:

\set Staff.timeSignatureFraction = 4/4
\scaleDurations ???/???

Craig




On 8 March 2016 at 08:47, Simon Albrecht  wrote:

> On 07.03.2016 22:53, Craig Dabelstein wrote:
>
>> Hi David,
>>
>> No, I didn't have to move the Default_bar_line_engraver. It worked fine
>> the way you originally said.
>>
>
> The one with Default_bar_line_engraver was directed at me.
>
> Best, Simon
>
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scale durations, another case

[zzk]

Hi lilyponders,

Please consider the following code which is supposed to match the attached
excerpt from Debussy's 'Images'. 

I am getting a bar check warning, as I am having a bit of a struggle with
fitting seven 32nd notes under the second 'quarter' note in the tuplet.

Any help would be highly appreciated.

Zoran

%%%
\version "2.19.37"

Key = { \time 3/4 \key fis \major }
rh = { \change Staff = "rh" }
lh = { \change Staff = "lh" }

xxxMusRRH = \new Staff = "rh" {
\relative c' {
\Key
\once \override TupletBracket.direction = #UP \tuplet 4/3 { b''4--
a-- g-- f-- } |
}
}

xxxMusRH = \new Staff = "rh" {
\relative c' {
\Key
\scaleDurations 3/4 { s8.. \lh \stemUp cis,32 } 
\scaleDurations 6125/7000 { d[ g b d \rh \stemDown g b d] } 
\scaleDurations 3/4 { r4 r8.. \stemDown 32-- } |
}
}

xxxMusLH = \new Staff = "lh" {
\relative c' {
\Key
\clef "bass" <<
\new Voice { 
f,8..\rest s32 s2 | 
}
\new Voice { 
\stemDown 
fis,,2. | 
}
>>
}
}

\new PianoStaff << 
\xxxMusRRH
\new StaffGroup <<
\xxxMusRH
\xxxMusLH
>>
>> 

\layout {
   \context {
 \Score
 \override StaffGrouper.staff-staff-spacing.basic-distance = #15
   }
} 
%%%



ScaleDuration_excerpt.png
  



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Re: scale durations, another case

[Kieren MacMillan]

Hi Zoran,

Any reason you don’t just use the built-in tuplet function, e.g.,

   \tuplet 7/6 { d[ g b d \rh \stemDown g b d] } 

or, if you don’t want to see the tuplet number,

   \once \omit TupletNumber \tuplet 7/6 { d[ g b d \rh \stemDown g b d] }

??

Hope this helps!
Kieren.


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


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Re: scale durations, another case

[zzk]

Hi Kieren, 

Why? Because such a simple, elegant solution simply did not occur to me :)
Thanks a lot, works very well.

Out of curiosity (and maybe for some possible future, more complicated
scenarios), is there a solution using \scaleDurations instead?

Thanks,
Zoran



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Re: scale durations

[Malte Meyn]

Am 09.03.2016 um 03:54 schrieb Craig Dabelstein:

Sorry gents, here is one more I can't work out.

The piece is in 9/8 but I need one instrument to play in 4/4. I have no
idea how to work out that fraction:

\set Staff.timeSignatureFraction = 4/4


\scaleDurations 8/9 because (4/4)/(9/8) = 8/9

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Re: scale durations, another case

[Malte Meyn]

Am 09.03.2016 um 05:13 schrieb zzk:

Out of curiosity (and maybe for some possible future, more complicated
scenarios), is there a solution using \scaleDurations instead?



A tuplet 7/6 without tuplet number is the same as \scaleDurations with 
factor 6/7. Or, even simpler, you can scale a duration by putting a 
*[scaling factor] behind it:



d32*6/7[ g b d \rh \stemDown g b d]

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Re: Wide spacing after extremely long syllable

[Pierre Perol-Schneider]

This looks like a bug to me. I can't find any workaround for v2.19.
With v2.18, not nice but works:

\version "2.18.2"
\paper {
  left-margin = 5\mm
  right-margin = 5\mm
  ragged-right = ##t
}
\layout {
  \context {
\Staff
\remove "Time_signature_engraver"
  }
}
theLyrics = \lyricmode {
  \once \override LyricText.self-alignment-X = #LEFT
  \once \override LyricText.X-extent = #'(0 . 72)
  Rest_eternal_grant_unto_them,_O_Lord,_and_let_light_perpetual
  shine on
}
notes = \relative c'' {
  \time 1/1
a1
  \once\override Staff.BarLine.extra-offset = #'(5 . 0)
  \time 2/8
a8[( c]) \break
  \time 1/4
a4
}
\score {
  <<
\new Staff
  \new Voice = "one" \notes
\new Lyrics \lyricsto "one" \theLyrics
  >>
}

Cheers,
Pierre

2016-03-09 3:14 GMT+01:00 markdblackwell :

> After an extremely long syllable in the lyrics, the next measure's spacing
> is
> quite wide, even with ragged-right.
>
> In the tiny example below, the problematic measure (of two eighth notes)
> comprises the word, "shine".
>
> Before each of its eighth notes, I tried the following commands, but they
> didn't shrink the problematic measure:
>
> \once \override Score.SpacingSpanner.average-spacing-wishes = ##t
> \once \override Score.SpacingSpanner.common-shortest-duration =
> #(ly:make-moment 1/8)
> \once \override Score.SpacingSpanner.base-shortest-duration =
> #(ly:make-moment 1/8)
> \once \override Score.SpacingSpanner.shortest-duration-space = #0.1
> \once \override Score.SpacingSpanner.spacing-increment = #1.2
>
> Although the following command shrinks the problematic measure, it also
> places the second eighth note completely after the word, "shine"—which
> looks
> bad:
>
>\once \override Score.SpacingSpanner.packed-spacing = ##t
>
> How can I shrink the problematic measure (after the extremely long
> syllable)
> to a more-normal spacing, while still aligning the word, "shine" under both
> eighth notes (as normal)?
>
> I prefer to keep the extremely long syllable and the problematic measure
> together on the same system (line).
>
> Here's the tiny example:
>
> \version "2.19.37"
> \paper {
>   left-margin = 5\mm
>   right-margin = 5\mm
>   ragged-right = ##t
> }
> \layout {
>   \context { \Staff
> \remove "Time_signature_engraver"
>   }
> }
> theLyrics = \lyricmode {
>   \once \override LyricText.self-alignment-X = #LEFT
> Rest_eternal_grant_unto_them,_O_Lord,_and_let_light_perpetual
> shine on
> }
> notes = \relative c'' {
>   \time 1/1
> a1
>   \time 2/8
> a8[( c]) \break
>   \time 1/4
> a4
> }
> \score {
>   <<
> \new Staff
>   \new Voice = "one" \notes
> \new Lyrics \lyricsto "one" \theLyrics
>   >>
> }
>
>
>
>
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/Wide-spacing-after-extremely-long-syllable-tp188318.html
> Sent from the User mailing list archive at Nabble.com.
>
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Re: reduce the beam width

[Federico Bruni]

Il giorno mar 8 mar 2016 alle 23:59, Andrew Bernard 
 ha scritto:
Do you actually mean the thickness of the beam, or the length of the 
beam? If the latter, use ragged-right = ##t to see what is happening.


I mean the width of the beam. Changing ragged-right helps in the 
minimal example but not in the real score I'm working on.


I must  omit NoteHead to reduce the space taken by the hidden grace 
note.

I rewrote this way and it works:

\version "2.19.37"

myMusic = \relative {
 cis'8\3\glissando
   %\hideNotes
   \once \omit NoteHead
   \once \omit Stem
   \once \omit TabNoteHead
   \once \omit Flag
   \grace a
   %\unHideNotes
   e'
 s1*3
}

\score {
 \new StaffGroup <<
   \new Staff { \clef "treble_8" \myMusic }
   \new TabStaff { \clef "moderntab" \new TabVoice \myMusic }
 >>
 \layout { indent = 0 }
}

\paper {
 ragged-right = ##f
}
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