Re: TABS string

[Gilles Peltzer]

An easy fix was to force the string mark to be under the staff using
underscore.
{ a,2.-2 |  d,2.-1_\5 | g2._\4  |
c,2.| }>>

-G



On Wed, Feb 22, 2017 at 9:55 PM, Gilles Peltzer  wrote:

> Hi Thomas,
> Thanks for the help. I understand the logic and giving the priority to
> open strings is a good default.
> This is why I wanted to use the string number in the base line:
>{ a,2.-2  | d,2.-1\5 | g2.\4 | c,2.  | }>>
> Doing so made the TABS look ok but the \5 on the d appears shifted to the
> melody line on the Staff.
> I should find a way to force the string mark to appear next to the note it
> applies to.
> Thanks,
> -G
>
> On Wed, Feb 22, 2017 at 12:58 PM, Thomas Morley 
> wrote:
>
>> 2017-02-22 19:32 GMT+01:00 Gilles Peltzer :
>> > Hello,
>> > LiliPond version "2.18.2"
>> > In the following example, the TABS indicate a free string for the first
>> > notes of bar 2 and bar 3, which is not what I want.
>> > If I indicate the string number for the d and g notes on the lower
>> voice,
>> > the TABS is correct but the indcations shifts to the upper voice on the
>> > staff and overwrite the finger number.
>> > The option \set TabStaff.restrainOpenStrings = ##t   did not
>> have
>> > any effect.
>> >
>> > Thanks for the help.
>> > -Gilles
>> >
>> > \layout {
>> >   indent = 0\mm
>> >   line-width = 180\mm
>> > }
>> >
>> > music = \relative c' {
>> > %line 5
>> >   <<{ a''4-1 b-3 c-4 | c2-4^"CV" f,4-2\2 | g-4\2 a b-4 | b2-4^"CIII"
>> e,4-3\2
>> > | }
>> >   \\
>> > %{ a,2.-2 | d,2.-1| g2. | c,2.
>> > | }>>
>> > { a,2.-2 | d,2.-1\5| g2.\4 | c,2.
>> > | }>>
>> >   \break
>> > }
>> >
>> > \score  {
>> >   <<
>> > \new Staff {
>> > \clef "treble"
>> > \time 3/4
>> > \music
>> > }
>> > \new TabStaff {
>> > \set TabStaff.restrainOpenStrings = ##t
>> > \transpose c' c \music
>> > }
>> >   >>
>> > }
>> >
>> >
>> > ___
>> > lilypond-user mailing list
>> > lilypond-user@gnu.org
>> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>> >
>>
>> Hi Gilles,
>>
>> from
>> http://lilypond.org/doc/v2.19/Documentation/notation-big-pag
>> e#default-tablatures
>>
>> "By default pitches are assigned to the lowest playing position on the
>> fret-board (first position). Open strings are automatically preferred.
>> If you would like a certain pitch to be played on a specific string
>> you can add a string number indication to the pitch name. If you don’t
>> want to have string number indications appear in traditional notation,
>> you can override the respective stencil. Usually it will be more
>> comfortable to define the playing position by using the value of
>> minimumFret. The default value for minimumFret is 0.
>>
>> Even when minimumFret is set, open strings are used whenever possible.
>> This behaviour can be changed by setting restrainOpenStrings to #t."
>>
>> So here's one possibility:
>>
>> \version "2.19.52"
>>
>> music = \relative c' {
>> %line 5
>>   <<{
>>   a''4-1 b-3 c-4 |
>> \set TabStaff.minimumFret = #5
>> \set TabStaff.restrainOpenStrings = ##t
>> c2-4^"CV" f,4-2\2 | g-4\2 a b-4 |
>> \set TabStaff.minimumFret = #3
>> b2-4^"CIII" e,4-3\2 |
>> \unset TabStaff.minimumFret
>> \set TabStaff.restrainOpenStrings = ##f
>>   }
>>   \\
>>   { a,2.-2 | d,2.-1 | g2. | c,2. | }>>
>> }
>>
>> \score {
>>   <<
>> \new Staff {
>>   \clef "treble"
>>   \time 3/4
>>   \music
>> }
>> \new TabStaff {
>>   \transpose c' c \music
>> }
>>   >>
>> }
>>
>> HTH,
>>   Harm
>>
>
>
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Re: TABS string

[Gilles Peltzer]

Hi Thomas,
Thanks for the help. I understand the logic and giving the priority to open
strings is a good default.
This is why I wanted to use the string number in the base line:
   { a,2.-2  | d,2.-1\5 | g2.\4 | c,2.  | }>>
Doing so made the TABS look ok but the \5 on the d appears shifted to the
melody line on the Staff.
I should find a way to force the string mark to appear next to the note it
applies to.
Thanks,
-G

On Wed, Feb 22, 2017 at 12:58 PM, Thomas Morley 
wrote:

> 2017-02-22 19:32 GMT+01:00 Gilles Peltzer :
> > Hello,
> > LiliPond version "2.18.2"
> > In the following example, the TABS indicate a free string for the first
> > notes of bar 2 and bar 3, which is not what I want.
> > If I indicate the string number for the d and g notes on the lower voice,
> > the TABS is correct but the indcations shifts to the upper voice on the
> > staff and overwrite the finger number.
> > The option \set TabStaff.restrainOpenStrings = ##t   did not have
> > any effect.
> >
> > Thanks for the help.
> > -Gilles
> >
> > \layout {
> >   indent = 0\mm
> >   line-width = 180\mm
> > }
> >
> > music = \relative c' {
> > %line 5
> >   <<{ a''4-1 b-3 c-4 | c2-4^"CV" f,4-2\2 | g-4\2 a b-4 | b2-4^"CIII"
> e,4-3\2
> > | }
> >   \\
> > %{ a,2.-2 | d,2.-1| g2. | c,2.
> > | }>>
> > { a,2.-2 | d,2.-1\5| g2.\4 | c,2.
> > | }>>
> >   \break
> > }
> >
> > \score  {
> >   <<
> > \new Staff {
> > \clef "treble"
> > \time 3/4
> > \music
> > }
> > \new TabStaff {
> > \set TabStaff.restrainOpenStrings = ##t
> > \transpose c' c \music
> > }
> >   >>
> > }
> >
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
> >
>
> Hi Gilles,
>
> from
> http://lilypond.org/doc/v2.19/Documentation/notation-big-
> page#default-tablatures
>
> "By default pitches are assigned to the lowest playing position on the
> fret-board (first position). Open strings are automatically preferred.
> If you would like a certain pitch to be played on a specific string
> you can add a string number indication to the pitch name. If you don’t
> want to have string number indications appear in traditional notation,
> you can override the respective stencil. Usually it will be more
> comfortable to define the playing position by using the value of
> minimumFret. The default value for minimumFret is 0.
>
> Even when minimumFret is set, open strings are used whenever possible.
> This behaviour can be changed by setting restrainOpenStrings to #t."
>
> So here's one possibility:
>
> \version "2.19.52"
>
> music = \relative c' {
> %line 5
>   <<{
>   a''4-1 b-3 c-4 |
> \set TabStaff.minimumFret = #5
> \set TabStaff.restrainOpenStrings = ##t
> c2-4^"CV" f,4-2\2 | g-4\2 a b-4 |
> \set TabStaff.minimumFret = #3
> b2-4^"CIII" e,4-3\2 |
> \unset TabStaff.minimumFret
> \set TabStaff.restrainOpenStrings = ##f
>   }
>   \\
>   { a,2.-2 | d,2.-1 | g2. | c,2. | }>>
> }
>
> \score {
>   <<
> \new Staff {
>   \clef "treble"
>   \time 3/4
>   \music
> }
> \new TabStaff {
>   \transpose c' c \music
> }
>   >>
> }
>
> HTH,
>   Harm
>
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Re: translations in new LilyPond website [WAS: Re: New LilyPond website]

[Paul]

On 02/22/2017 02:14 PM, Graham Percival wrote:


On Mon, Feb 20, 2017 at 12:23:06AM -0500, Paul wrote:

What if we separated the design and implementation steps? First, come up
with a design that just uses css and simple html (nothing fancy, no library
dependencies, etc.), one that offers responsive design for smaller screens,
etc.

That's more or less exactly the point behind [1]: work on the CSS
without fussing about the underlying HTML.


Well, I think we are talking about two different points.  My point was 
to allow the html to be changed as well as the css -- in order to 
decouple the design process from the constraints of the build tools -- 
to allow John to design a website (with responsive design etc.) using 
his preferred tools (html, css), revising it until we are happy with it, 
and then port it to the current build system by converting the html to 
texinfo.


Are there reasons to constrain the website to the currently existing html?

I think it will be more difficult to successfully transition the site to 
an effective and well-implemented responsive design (that looks good on 
all screen sizes) if we restrict ourselves to only changing the css.  
And I don't think it's a bad thing if the site gets a redesign every 
decade or so.



It resulted in one new
LilyPond contributor [2], who began cleaning up the CSS.

[1] https://github.com/gperciva/lilypond-web-css
[2] 
http://git.savannah.gnu.org/cgit/lilypond.git/commit/?id=ca2a46da10e1f627b68e7243958749b8ec007f43

Unfortunately, due to a combination of real-life problems and the
threat of throwing away the existing website, her interest in
working on this has dried up -- and I don't blame her in the
least!  I'm waiting for things to calm down, and then maybe I can
convince her to re-start.


That is unfortunate.  I also think it would be unfortunate to not take 
John up on his willingness to help us redesign the site and give it a 
responsive design.  My proposal is a way to make that possible by 
working around the impass created by the constraints and barriers to 
entry imposed by the build tools.


Cheers,
-Paul



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Re: Quotes in Lyrics

[David Wright]

On Wed 22 Feb 2017 at 18:52:25 (-0500), Joseph Austin wrote:
> LilyPons Notation Reference 2.1.2 contains the following example of quotes in 
> lyrics:
> 
> \relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
> \addlyrics { "\"I" am so lone- "ly\"" said she }
> 
> And there follows a statement that seems to say a lyrics word can begin with 
> backslash quote:
> 
> QUOTE: 
> A word in Lyrics mode begins with: an alphabetic character, _, ?, !, :, ', 
> the control characters ^A through ^F, ^Q through ^W, ^Y, ^^, any 8-bit 
> character with ASCII code over 127, or a two-character combination of a 
> backslash followed by one of `, ', ", or ^.  
> ENDQUOTE.

That looks suspect. It seems that the *lonely* example is correct:
you need to put quotes round   \"She   if you want   "She   to appear
in the music.

But why not do the Right Thing and dispose of this problem with
\addlyrics { “I am so lone- ly” said she }
and have yourself a proper set of 66 and 99 quotation marks
without needing to enclose them in quotes. Those characters are
in the category "any 8-bit character with ASCII code over 127".

Cheers,
David.

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Quotes in Lyrics

[Joseph Austin]

LilyPons Notation Reference 2.1.2 contains the following example of quotes in 
lyrics:

\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
\addlyrics { "\"I" am so lone- "ly\"" said she }

And there follows a statement that seems to say a lyrics word can begin with 
backslash quote:

QUOTE: 
A word in Lyrics mode begins with: an alphabetic character, _, ?, !, :, ', the 
control characters ^A through ^F, ^Q through ^W, ^Y, ^^, any 8-bit character 
with ASCII code over 127, or a two-character combination of a backslash 
followed by one of `, ', ", or ^.  
ENDQUOTE.

I don't fully understand the point or effect of the "extra" quotes in the 
example.
Why is the f example incorrect?

\relative c' { \time 3/4 e4 e4. e8 d4 e d c2. }
\addlyrics { \"She is so lone- ly\" said he }

(BTW, adding spaces around the \" doesn't help:
\addlyrics { \" She is so lone- ly \" said he }

I get the following errors:

 Processing `/Users/josephaustin/lilypond/scripts/TEST/quote2.ly'
Parsing...
/Users/josephaustin/lilypond/scripts/TEST/quote2.ly:8:36: error: EOF found 
inside string
\addlyrics { \"She is so lone- ly\"
said he }
/Users/josephaustin/lilypond/scripts/TEST/quote2.ly:8:36: error: Unfinished 
main input
\addlyrics { \"She is so lone- ly\"
said he }
/Users/josephaustin/lilypond/scripts/TEST/quote2.ly:8:36: error: syntax error, 
unexpected end of input
\addlyrics { \"She is so lone- ly\"
said he }
Interpreting music...
...
fatal error: failed files: "/Users/josephaustin/lilypond/scripts/TEST/quote2.ly"






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Re: Start new score without line break

[Thomas Morley]

2017-02-22 15:29 GMT+01:00 Andrew Bernard :
> Hi All,
>
> Well, here's what I have so far. All that is needed now is the brace and the
> time signature.
>
> Andrew
>
> == snip
>
> \version "2.19.55"
>
> treble = {
>   \clef treble
>   \key a \major
>   \override Score.BreakAlignment.break-align-orders =
>   #(make-vector 3 '(left-edge
> cue-end-clef
> ambitus
> breathing-sign
> staff-bar
> clef
> time-signature
> cue-clef
> key-cancellation
> key-signature
> custos))
>   c'4
>   \bar "|."
>   \stopStaff
>   s4 s s s
>   \bar "|"
>   \startStaff
>   \override Staff.Clef.full-size-change = ##t
>   \set Staff.forceClef = ##t
>   \clef treble
>   \key a \major
>   c'4
> }
>
> bass = {
>   \clef bass
>   \key a \major
>
>   c4
>   \stopStaff
>   s4 s s s
>   \startStaff
>   \override Staff.Clef.full-size-change = ##t
>   \set Staff.forceClef = ##t
>   \clef bass
>   \key a \major
>   c4
> }
>
> \score {
>
>   \new PianoStaff
>   <<
> \new Staff { \treble }
> \new Staff { \bass }
>   >>
>
>   \layout {
>   }
> }
>
> == snip
>
>
>
>
> On 23 February 2017 at 00:52, Richard Shann  wrote:
>>
>> On Wed, 2017-02-22 at 14:28 +0100, Alexander Kobel wrote:
>> > Andrew,
>> >
>> > On 2017-02-22 14:02, Andrew Bernard wrote:
>> [...]
>> >
>> > > Can this be done? I can see how you can use stopStaff and startStaff
>> > > to get close, but there does not appear to be an obvious way to get
>> > > system start delimiters and braces drawn if you do that.
>> >
>> > I once tried to duplicate the SystemStartDelimiter stencil from the
>> > beginning of the line, to insert it at the place where \startStaff is
>> > called.  It would not be the most convenient approach (in particular,
>> > you'd typically want to have some vertically centered text in the
>> > gap), but at least a start.  And the missing delimiter is the main
>> > technical hindrance AFAICS.
>> > Alas, I did not succeed; but I suspect that someone with a better
>> > Scheme- and Lily-internals-fu could make this work...
>>
>> I wonder if you could get LilyPond to draw the brace after the break in
>> the staff by defining a custom barline and putting that there? It would
>> not work for nested braces, but I think most applications are just a
>> single brace.
>>
>>
>> Richard


Hi,

maybe
http://lists.gnu.org/archive/html/lilypond-user/2013-12/msg01027.html
is of some help.

Cheers,
  Harm

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Re: TABS string

[Thomas Morley]

2017-02-22 19:32 GMT+01:00 Gilles Peltzer :
> Hello,
> LiliPond version "2.18.2"
> In the following example, the TABS indicate a free string for the first
> notes of bar 2 and bar 3, which is not what I want.
> If I indicate the string number for the d and g notes on the lower voice,
> the TABS is correct but the indcations shifts to the upper voice on the
> staff and overwrite the finger number.
> The option \set TabStaff.restrainOpenStrings = ##t   did not have
> any effect.
>
> Thanks for the help.
> -Gilles
>
> \layout {
>   indent = 0\mm
>   line-width = 180\mm
> }
>
> music = \relative c' {
> %line 5
>   <<{ a''4-1 b-3 c-4 | c2-4^"CV" f,4-2\2 | g-4\2 a b-4 | b2-4^"CIII" e,4-3\2
> | }
>   \\
> %{ a,2.-2 | d,2.-1| g2. | c,2.
> | }>>
> { a,2.-2 | d,2.-1\5| g2.\4 | c,2.
> | }>>
>   \break
> }
>
> \score  {
>   <<
> \new Staff {
> \clef "treble"
> \time 3/4
> \music
> }
> \new TabStaff {
> \set TabStaff.restrainOpenStrings = ##t
> \transpose c' c \music
> }
>   >>
> }
>
>
> ___
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> https://lists.gnu.org/mailman/listinfo/lilypond-user
>

Hi Gilles,

from
http://lilypond.org/doc/v2.19/Documentation/notation-big-page#default-tablatures

"By default pitches are assigned to the lowest playing position on the
fret-board (first position). Open strings are automatically preferred.
If you would like a certain pitch to be played on a specific string
you can add a string number indication to the pitch name. If you don’t
want to have string number indications appear in traditional notation,
you can override the respective stencil. Usually it will be more
comfortable to define the playing position by using the value of
minimumFret. The default value for minimumFret is 0.

Even when minimumFret is set, open strings are used whenever possible.
This behaviour can be changed by setting restrainOpenStrings to #t."

So here's one possibility:

\version "2.19.52"

music = \relative c' {
%line 5
  <<{
  a''4-1 b-3 c-4 |
\set TabStaff.minimumFret = #5
\set TabStaff.restrainOpenStrings = ##t
c2-4^"CV" f,4-2\2 | g-4\2 a b-4 |
\set TabStaff.minimumFret = #3
b2-4^"CIII" e,4-3\2 |
\unset TabStaff.minimumFret
\set TabStaff.restrainOpenStrings = ##f
  }
  \\
  { a,2.-2 | d,2.-1 | g2. | c,2. | }>>
}

\score {
  <<
\new Staff {
  \clef "treble"
  \time 3/4
  \music
}
\new TabStaff {
  \transpose c' c \music
}
  >>
}

HTH,
  Harm

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Re: Melisma with manual syllable durations

[David Wright]

On Wed 22 Feb 2017 at 16:21:27 (+), David Sumbler wrote:
> On Mon, 2017-02-20 at 19:49 +0100, David Kastrup wrote:
> > David Sumbler  writes:
> > 
> > > 
> > > On Sun, 2017-02-19 at 14:49 +, David Sumbler wrote:
> > > 
> > > Thank you for the responses to my question.
> > > 
> > > Unfortunately, I now realise that the question was not clearly
> > > expressed.  It was not intended to be "is there a way to get
> > > melisma in
> > > upper and lower voices", but "is there a way to get melisma marks
> > > when
> > > using manual syllable durations?"
> > > 
> > > As I said in my original post, I had tried various other ways of
> > > setting the second set of words, including the obvious one of
> > > creating
> > > a \new Voice at the relevant point of the vocal staff and using
> > > \lyricsto.  Unfortunately there was a problem with this, which was
> > > that
> > > the words were set one note late, try as I might to get around the
> > > problem.  So instead of spending possibly hours trying to get to
> > > the
> > > root of this, I decided to try manual durations, which appeared to
> > > work
> > > perfectly - until I ran into this melisma problem in the second of
> > > the
> > > relevant songs.  (There is no melisma in the first of the 2 songs.)
> > > 
> > > In view of the fact that manual durations are the first to be shown
> > > in
> > > the Notation Reference, it seems surprising if such a standard part
> > > of
> > > musical notation is not supported.
> > > 
> > > So - can anyone tell me if melisma markings be produced when using
> > > manual durations with lyrics?  And if so, how?
> > Again: set associatedVoice accordingly.  Why ask for advice if you
> > are
> > going to ignore it?
> 
> I can understand the evident irritation that my response caused, and I
> apologise.  The fact is, though, that I did not ignore the advice
> given; but I misconstrued what was being suggested and thought that I
> was being asked to use some form of \lyricsto with automatic syllable
> placement.  So again, let me apologise.
> 
> Having now tried David K's method, I can confirm that it works when
> used in my whole score (with sections of the music and the lyrics in
> various included files).
> 
> I thought it was odd, though, that I needed to name an
> "associatedVoice" in order to get the melisma marking to work, when all
> the timing information for placing the syllables is already there in
> the lyric input.
> 
> So I experimented.  I find that, not only does it not matter which
> voice or stave I name as "associatedVoice", but it does not even matter
> whether such a voice exists!  I can put associatedVoice = "Fred" (and I
> assure you I have no items named Fred in the entire piece) and it all
> works fine: the notes are correctly placed (as they always were), and
> the melisma magically appears (as it used not to do).

Re: Fred

My guess would be that LP looks for a context with that name and,
finding none, uses the last/latest one, however that's defined.
In the case of \addlyrics (my posted suggestion to you), I would
assume it does the same sort of thing, perhaps "looking" for a
context called "" or just looking "up", so to speak.

Re: does [it] not matter which voice or stave

That doesn't seem to tally with my experience. I don't want to waste a
lot of time designing diagnostic cases, but if I take a 'tenor' part¹
and mangle the name of the associated voice, the tenor words (set in
the middle of this score) suddenly switch to the alto voice above it
instead of the tenor, demonstrated by the shift in the Aflat on "boy"²
caused by the soprano's note. The extender line on "love" also shrinks
to some default length. Up until where I mangle the name, everything
is set correctly to the tenor part.

That behaviour is with \lyricsto. In the case of explicit durations,
the lyric extenders disappear and the words on melismas change from
left-aligned to centred on its first note. With 2.18, that last point
is different. It complains about having no valid associated voice to
use, and the lyrics are all left-aligned anyway and stay that way³.

> In other words, for no apparent reason just adding an associatedVoice
> (which need not actually exist) causes the melisma to work.  It has
> nothing to do with any slurred or tied notes that are in the associated
> Voice.  I tried putting a melisma after a word that was on a minim with
> no ties, slurs or extra notes, and sure enough Lilypond prints the
> melisma so long as associatedVoice is set to something (anything!)

I don't know what "putting a melisma" means.

¹ I've used SATB terminology to save explanation.
² "There" and "boy" are deliberately offset with respect to their notes.
  Barbershoppers might add an extender after "boy" to prevent the
  'altos' breathing there.
³ I can't find the change in default alignment of lyrics in the
  changes document for 2.18→2.20.


Cheers,
David.
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Re: translations in new LilyPond website [WAS: Re: New LilyPond website]

[Graham Percival]

On Mon, Feb 20, 2017 at 12:23:06AM -0500, Paul wrote:
> What if we separated the design and implementation steps? First, come up
> with a design that just uses css and simple html (nothing fancy, no library
> dependencies, etc.), one that offers responsive design for smaller screens,
> etc.

That's more or less exactly the point behind [1]: work on the CSS
without fussing about the underlying HTML.  It resulted in one new
LilyPond contributor [2], who began cleaning up the CSS.

[1] https://github.com/gperciva/lilypond-web-css
[2] 
http://git.savannah.gnu.org/cgit/lilypond.git/commit/?id=ca2a46da10e1f627b68e7243958749b8ec007f43

Unfortunately, due to a combination of real-life problems and the
threat of throwing away the existing website, her interest in
working on this has dried up -- and I don't blame her in the
least!  I'm waiting for things to calm down, and then maybe I can
convince her to re-start.

There's also a technical tool which can help this process; I
mentioned that on the -devel list and hope to make it available
soon.

Cheers,
- Graham

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TABS string

[Gilles Peltzer]

Hello,
LiliPond version "2.18.2"
In the following example, the TABS indicate a free string for the first
notes of bar 2 and bar 3, which is not what I want.
If I indicate the string number for the d and g notes on the lower voice,
the TABS is correct but the indcations shifts to the upper voice on the
staff and overwrite the finger number.
The option \set TabStaff.restrainOpenStrings = ##t   did not have
any effect.

Thanks for the help.
-Gilles

\layout {
  indent = 0\mm
  line-width = 180\mm
}

music = \relative c' {
%line 5
  <<{ a''4-1 b-3 c-4 | c2-4^"CV" f,4-2\2 | g-4\2 a b-4 | b2-4^"CIII"
e,4-3\2 | }
  \\
%{ a,2.-2 | d,2.-1| g2. |
c,2.| }>>
{ a,2.-2 | d,2.-1\5| g2.\4 |
c,2.| }>>
  \break
}

\score  {
  <<
\new Staff {
\clef "treble"
\time 3/4
\music
}
\new TabStaff {
\set TabStaff.restrainOpenStrings = ##t
\transpose c' c \music
}
  >>
}
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Re: Different spacings indifferent staves

[Les Éditions Valmajour - pg]

Hi Andrew

Thanks for your interest! Yes, I'd like to go further in this. The thing 
is that the solo and piano part are not necessarily corresponding in 
terms of rhythm; the solo starts to play alone some random rhythms on 
the written notes, and after a few seconds the piano starts, with the 
arpeggio, but there is no notion of precise tempo or vertical 
correspondence of rhythms between the 2 instruments.


That's why I'd like have the solo notes at an equal distance to each 
other and the piano arpeggio randomly placed on the staves, but of 
course I can't place it "really" randomly, so lily tries to make 
everything look right, when I just need the opposite :-)


If there is another way to write this ijn Lilypond, I'm very interested!

Pierre


Le 22/02/2017 à 11:21, Andrew Bernard a écrit :

Hello Pierre,

Did you want to pursue this? I did not see any good answer on the list 
but I may have missed it. With all due respect and no criticism 
intended whatsoever, there are a lot of things wrong or strange about 
this score. The different staff sizes may be an issue, and I am 
confused about your use of 7/4 and so on. Is this not a simple case of 
two 32's against 16's? Also, the repeat barlines mess up spacing, as 
they have to be accounted for, and the choice of accidental style also 
gets in the way. If this piece is really as simple as two 32 against 
16's, then proportional spacing can be made to work pretty well.


Let me know if this is worth working on and I will help you out. I 
took some time on it tonight but I need your guidance as to the actual 
musical structure. Do let me know - I am happy to help.


As a side note, I use proportional notation in all my complex work, 
but it is never quite right. Somehow lilypond has a hard time doing 
what we intuitively feel should be simple, even, horizontal spacing. I 
do not fully understand the reasons for this, but there must be some 
deep and difficult underlying layout engine problems that can't be 
solved. Nevertheless, you can get pretty close a lot of the time.



Andrew





On 13 February 2017 at 20:57, Les Éditions Valmajour - pg 
mailto:p...@editions-valmajour.fr>> wrote:


Hello co-listers,

does anyone know if there a way to apply different horizontal
spacings to different staves, whithin the same bar?

In the attached example, the stemless notes are 16ths. I would
like the stemless notes to be strictly evenly spaced, regardless
to what is written in the piano part. I have the feeling that it
can be easily set, but I can't figure out how.

Thank you all!

Pierre


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--

Facebook : 
https://www.facebook.com/pages/Les-%C3%89ditions-Valmajour/1158579907502169

Notre site internet : http://editions-valmajour.fr

Notre blog : http://blog.editions-valmajour.fr

À bientôt!

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Re: Melisma with manual syllable durations

[David Sumbler]

On Mon, 2017-02-20 at 19:49 +0100, David Kastrup wrote:
> David Sumbler  writes:
> 
> > 
> > On Sun, 2017-02-19 at 14:49 +, David Sumbler wrote:
> > 
> > Thank you for the responses to my question.
> > 
> > Unfortunately, I now realise that the question was not clearly
> > expressed.  It was not intended to be "is there a way to get
> > melisma in
> > upper and lower voices", but "is there a way to get melisma marks
> > when
> > using manual syllable durations?"
> > 
> > As I said in my original post, I had tried various other ways of
> > setting the second set of words, including the obvious one of
> > creating
> > a \new Voice at the relevant point of the vocal staff and using
> > \lyricsto.  Unfortunately there was a problem with this, which was
> > that
> > the words were set one note late, try as I might to get around the
> > problem.  So instead of spending possibly hours trying to get to
> > the
> > root of this, I decided to try manual durations, which appeared to
> > work
> > perfectly - until I ran into this melisma problem in the second of
> > the
> > relevant songs.  (There is no melisma in the first of the 2 songs.)
> > 
> > In view of the fact that manual durations are the first to be shown
> > in
> > the Notation Reference, it seems surprising if such a standard part
> > of
> > musical notation is not supported.
> > 
> > So - can anyone tell me if melisma markings be produced when using
> > manual durations with lyrics?  And if so, how?
> Again: set associatedVoice accordingly.  Why ask for advice if you
> are
> going to ignore it?

I can understand the evident irritation that my response caused, and I
apologise.  The fact is, though, that I did not ignore the advice
given; but I misconstrued what was being suggested and thought that I
was being asked to use some form of \lyricsto with automatic syllable
placement.  So again, let me apologise.

Having now tried David K's method, I can confirm that it works when
used in my whole score (with sections of the music and the lyrics in
various included files).

I thought it was odd, though, that I needed to name an
"associatedVoice" in order to get the melisma marking to work, when all
the timing information for placing the syllables is already there in
the lyric input.

So I experimented.  I find that, not only does it not matter which
voice or stave I name as "associatedVoice", but it does not even matter
whether such a voice exists!  I can put associatedVoice = "Fred" (and I
assure you I have no items named Fred in the entire piece) and it all
works fine: the notes are correctly placed (as they always were), and
the melisma magically appears (as it used not to do).

In other words, for no apparent reason just adding an associatedVoice
(which need not actually exist) causes the melisma to work.  It has
nothing to do with any slurred or tied notes that are in the associated
Voice.  I tried putting a melisma after a word that was on a minim with
no ties, slurs or extra notes, and sure enough Lilypond prints the
melisma so long as associatedVoice is set to something (anything!)

David S.

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Re: Your favourite/most efficient methods of inputting scores (piano)?

[David Wright]

On Tue 21 Feb 2017 at 11:35:40 (+0100), Urs Liska wrote:
> Am 21.02.2017 um 10:40 schrieb kmg:

> In addition, it is often a good idea separate things out in individual
> files (e.g. one for each staff or even one for each voice).
> >
> > I did the same with the score where right hand had only once voice
> > most of the time, still I'm yet to see someone else using it - seems
> > like many people just use /new Voice and write them separately.

If, like me, you enter parts in \relative mode, parallel music
makes it much more difficult. It's also unnatural to think of
much vocal music in a "vertical" layout, bar by bar.

> With barchecks there are two somewhat mandatory recommendations,
> everything else is up to personal style or agreement (if you're working
> in a team):
> 1) Please do use them (always)

Almost. I don't use them in Anglican Chants (too brief) and
hymns, where the natural unit is the line, not the bar.
In fact, I set many hymns with the printed lines split at each
anacrusis to match the word underlay, and so the LP source,
both notes and lyrics, reflects that.

> 2) use them consistently.

And everything else too. This makes it easier to spot mistakes,
make systematic/bulk changes (eg moving version 2.18 to 2.19/20)
and even various indexing/post-processing operations.

> Whether you put them at the end of the line or at the beginning doesn't
> really matter.
> The end of the line is somewhat "natural", as it ends the previous measure
> At the beginning of the line gives a more consistent "look", because it
> is always in the same place.
> 
> An alternative I use regularly is to put them on an empty line, together
> with a barnumber comment, like so:
> 
>   c4 c c c
> 
>   | % 41
>   d4 d d d
> 
> This makes the input file vertically "longer", but usually that doesn't
> matter. The advantage is that it makes it very clear visually what
> happens, and (if you use that) it gives very good commits to a version
> control system such as Git.

I do find that's too slack for my liking. With emacs split into four
panes, giving 7 or 8 lines per pane, there just isn't enough context
(and no indication of the part). I don't know where I stole my
preferred format from, but it looks like this:

soprano = \relative {
  a'2. a4
  a4 a g e
  f4. g8( a4) a
  g4 e f4. g8
  \barNumberCheck #5 | % soprano
  a8( b c2) b4~
  b4 a2 gs4
  a2 r4 a
  gs4 a2 gs4
  a2 r4 a
  \barNumberCheck #10 | % soprano
  gs4 a2 gs4
  a2 r4 a~ ...

which means at least one check is always visible in each pane.
And I can subitize five bars as I type in the code, typically
into a buffer containing:

soprano = \relative {
  \barNumberCheck #5 | % soprano
  \barNumberCheck #10 | % soprano
  \barNumberCheck #15 | % soprano
...

Occasionally I insert the checks in arrears (with an emacs macro).
It's no fun working on a score lacking them.

> The sample includes another recommendation: Specify the duration at the
> beginning of each line, even if it's not technically necessary. This
> makes it more obvious on first sight, and it helps avoid errors if you
> should change anything later.

Yes. And so far I am entirely a pitch-priority person, even though
you can now type durations on their own. That facility might suit
minimalists (and the occasional alto or tenor part :) ). I suppose
in that case the recommendation would be to reaffirm the pitch at
the beginning of each line.

Cheers,
David.

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Re: LilyBin embedded [WAS: New LilyPond website]

[Urs Liska]

Am 22.02.2017 um 16:06 schrieb Christ van Willegen:
> Hi,
>
> Op 22 feb. 2017 11:20 schreef mailto:m...@hohlart.de>>:
>
> Using a subdomain as proposed (live.lilypond.org
> ), the whole lilybin stuff could be
> outsourced to a different server ... finding someone who provides
> this possibility/server is another story.
>
>
> I have a NAS that I could make accessible to the Internet, but unsure
> if it could run the binary... Can anyone advise me on this? It's a
> Synology.
>

I assume that an explicit web server would be better suited for the task.
Urs

> But I like the "try it!" approach very much.
>
>
> I agree!
>
> Christ van Willegen
>
>
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-- 
u...@openlilylib.org
https://openlilylib.org
http://lilypondblog.org

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Re: LilyBin embedded [WAS: New LilyPond website]

[Christ van Willegen]

Hi,

Op 22 feb. 2017 11:20 schreef :

Using a subdomain as proposed (live.lilypond.org), the whole lilybin stuff
could be outsourced to a different server ... finding someone who provides
this possibility/server is another story.


I have a NAS that I could make accessible to the Internet, but unsure if it
could run the binary... Can anyone advise me on this? It's a Synology.

But I like the "try it!" approach very much.


I agree!

Christ van Willegen
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Re: Start new score without line break

[Andrew Bernard]

Hi All,

Well, here's what I have so far. All that is needed now is the brace and
the time signature.

Andrew

== snip

\version "2.19.55"

treble = {
  \clef treble
  \key a \major
  \override Score.BreakAlignment.break-align-orders =
  #(make-vector 3 '(left-edge
cue-end-clef
ambitus
breathing-sign
staff-bar
clef
time-signature
cue-clef
key-cancellation
key-signature
custos))
  c'4
  \bar "|."
  \stopStaff
  s4 s s s
  \bar "|"
  \startStaff
  \override Staff.Clef.full-size-change = ##t
  \set Staff.forceClef = ##t
  \clef treble
  \key a \major
  c'4
}

bass = {
  \clef bass
  \key a \major

  c4
  \stopStaff
  s4 s s s
  \startStaff
  \override Staff.Clef.full-size-change = ##t
  \set Staff.forceClef = ##t
  \clef bass
  \key a \major
  c4
}

\score {

  \new PianoStaff
  <<
\new Staff { \treble }
\new Staff { \bass }
  >>

  \layout {
  }
}

== snip




On 23 February 2017 at 00:52, Richard Shann  wrote:

> On Wed, 2017-02-22 at 14:28 +0100, Alexander Kobel wrote:
> > Andrew,
> >
> > On 2017-02-22 14:02, Andrew Bernard wrote:
> [...]
> >
> > > Can this be done? I can see how you can use stopStaff and startStaff
> > > to get close, but there does not appear to be an obvious way to get
> > > system start delimiters and braces drawn if you do that.
> >
> > I once tried to duplicate the SystemStartDelimiter stencil from the
> > beginning of the line, to insert it at the place where \startStaff is
> > called.  It would not be the most convenient approach (in particular,
> > you'd typically want to have some vertically centered text in the
> > gap), but at least a start.  And the missing delimiter is the main
> > technical hindrance AFAICS.
> > Alas, I did not succeed; but I suspect that someone with a better
> > Scheme- and Lily-internals-fu could make this work...
>
> I wonder if you could get LilyPond to draw the brace after the break in
> the staff by defining a custom barline and putting that there? It would
> not work for nested braces, but I think most applications are just a
> single brace.
>
>
> Richard
>
>
>
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Re: Start new score without line break

[Richard Shann]

On Wed, 2017-02-22 at 14:28 +0100, Alexander Kobel wrote:
> Andrew,
> 
> On 2017-02-22 14:02, Andrew Bernard wrote:
[...]
> 
> > Can this be done? I can see how you can use stopStaff and startStaff
> > to get close, but there does not appear to be an obvious way to get
> > system start delimiters and braces drawn if you do that.
> 
> I once tried to duplicate the SystemStartDelimiter stencil from the
> beginning of the line, to insert it at the place where \startStaff is
> called.  It would not be the most convenient approach (in particular,
> you'd typically want to have some vertically centered text in the
> gap), but at least a start.  And the missing delimiter is the main
> technical hindrance AFAICS.
> Alas, I did not succeed; but I suspect that someone with a better
> Scheme- and Lily-internals-fu could make this work...

I wonder if you could get LilyPond to draw the brace after the break in
the staff by defining a custom barline and putting that there? It would
not work for nested braces, but I think most applications are just a
single brace.


Richard



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Re: Start new score without line break

[Andrew Bernard]

Hi Alexander,

Thanks for this. But I suppose I was not really referring to the highly
specific issues in the other thread (or I would have kept in that thread).
I would still like to be able to start a new score with no break, for
example in books of say, harpsichord music with lots of small, short
movements, where the systems would be the same proportions but the piece is
new.

Although I am fluent in Scheme, I have no idea at all what area of lilypond
to start digging in to address such.

Andrew
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Re: Start new score without line break

[Alexander Kobel]

On 2017-02-22 14:28, Alexander Kobel wrote:
> On 2017-02-22 14:02, Andrew Bernard wrote:
>> There's currently a thread here which refers in passing to the
>> difficulty of starting a new score on a page without a line break or
>> a page break.
> [...]
> I just want to point out one important linguistic and technical detail:  what 
> we are lacking is not so much the option to start a new score in-line, it's 
> about suspending and restarting entire systems /within a score/ in-line. [...]

Well, to be even more precise: both would be nice.  But even if you start a new 
logical score (as Pierre indeed does in the example), you'd probably want it to 
be of coherent appearance to the systems before.  From Lilypond's perspective, 
this means it's most probably a continued score, maybe with a new spacing 
section etc, but hardly a fresh vertical positioning computation...


Cheers,
Alexander

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Re: Start new score without line break

[Alexander Kobel]

Andrew,

On 2017-02-22 14:02, Andrew Bernard wrote:
> There's currently a thread here which refers in passing to the
> difficulty of starting a new score on a page without a line break or
> a page break.

I assume you refer to the thread that I hijacked to ask Pierre for his 
MuseScore-made D.C., right?  (For reference, I take the liberty to attach it.)

I just want to point out one important linguistic and technical detail:  what 
we are lacking is not so much the option to start a new score in-line, it's 
about suspending and restarting entire systems /within a score/ in-line.
That's different because a new score has it's own spacing, in particular 
vertically.  It /is/ actually possible to achieve the desired effect by putting 
two scores in markups and \fill-line them.  But it is certainly non-trivial to 
tweak the vertical spacing to the rest of the score above and below, or to make 
sure that the staves and elements in the two markup scores are vertically 
aligned.  Even less so for a sensible horizontal spacing, or the possibility to 
reconsider the breaks after the matter.

> Can this be done? I can see how you can use stopStaff and startStaff
> to get close, but there does not appear to be an obvious way to get
> system start delimiters and braces drawn if you do that.

I once tried to duplicate the SystemStartDelimiter stencil from the beginning 
of the line, to insert it at the place where \startStaff is called.  It would 
not be the most convenient approach (in particular, you'd typically want to 
have some vertically centered text in the gap), but at least a start.  And the 
missing delimiter is the main technical hindrance AFAICS.
Alas, I did not succeed; but I suspect that someone with a better Scheme- and 
Lily-internals-fu could make this work...

> Simply calling a new score always throws a line break.

See above; that's not quite what we want.


Cheers,
Alexander


> Could this be an enhancement to lilypond, to somehow specify \score
> with no line break?
> 
> So many publications use this, it seems like a surprising omission.
> 
> Andrew
> 
> 
> 
> 
> ___ lilypond-user mailing
> list lilypond-user@gnu.org 
> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 

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Start new score without line break

[Andrew Bernard]

There's currently a thread here which refers in passing to the difficulty
of starting a new score on a page without a line break or a page break.

Can this be done? I can see how you can use stopStaff and startStaff to get
close, but there does not appear to be an obvious way to get system start
delimiters and braces drawn if you do that. Simply calling a new score
always throws a line break.

Could this be an enhancement to lilypond, to somehow specify \score with no
line break?

So many publications use this, it seems like a surprising omission.

Andrew
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Re: Reduce LilyPond installation disk size

[Trevor]

--symlink helps a lot! Down to 34M. Thank you.

On Wed, Feb 22, 2017 at 11:59 AM Alexander Kobel  wrote:

> Hi Trevor,
>
> On 2017-02-22 11:31, Trevor wrote:
> > To run LilyPond on AWS Lambda for LilyBin, I need to upload a zip
> > file containing the LilyPond executable and assets, and it must be no
> > larger than 50 MB. Recent versions of LilyPond unstable are about 52
> > MB zipped (zip -r9). Are there any large files in the installation
> > directory I can delete without breaking anything? Or maybe I could
> > compress executables better than zip does?
>
> some suggestions:
>
> 1.) Use the --symlink option for zip, i.e., use
> zip -r9 --symlink archive.zip 
> Otherwise, you end up with multiple copies of identical files in the
> archive.
>
> 2.) Remove some of the language data that you won't use from
> usr/share/locale/.
>
> 3.) Use tar and xz if supported by the server (tar -cJf archive.tar.xz
> ), which brings the "official" 2.19.55 x86_64 binary
> from lilypond.org down to ~24 MB.  (FWIW, the installer is basically a
> bzip2'ed tarball in a shell script wrapper, and weighs ~30 MB.)
>
>
> HTH,
> Alexander
>
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Re: Reduce LilyPond installation disk size

[Alexander Kobel]

Hi Trevor,

On 2017-02-22 11:31, Trevor wrote:
> To run LilyPond on AWS Lambda for LilyBin, I need to upload a zip
> file containing the LilyPond executable and assets, and it must be no
> larger than 50 MB. Recent versions of LilyPond unstable are about 52
> MB zipped (zip -r9). Are there any large files in the installation
> directory I can delete without breaking anything? Or maybe I could
> compress executables better than zip does?

some suggestions:

1.) Use the --symlink option for zip, i.e., use
zip -r9 --symlink archive.zip 
Otherwise, you end up with multiple copies of identical files in the 
archive.

2.) Remove some of the language data that you won't use from usr/share/locale/.

3.) Use tar and xz if supported by the server (tar -cJf archive.tar.xz 
), which brings the "official" 2.19.55 x86_64 binary from 
lilypond.org down to ~24 MB.  (FWIW, the installer is basically a bzip2'ed 
tarball in a shell script wrapper, and weighs ~30 MB.)


HTH,
Alexander

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Reduce LilyPond installation disk size

[Trevor]

To run LilyPond on AWS Lambda for LilyBin, I need to upload a zip file
containing the LilyPond executable and assets, and it must be no larger
than 50 MB. Recent versions of LilyPond unstable are about 52 MB zipped
(zip -r9). Are there any large files in the installation directory I can
delete without breaking anything? Or maybe I could compress executables
better than zip does?

Here's the sorted output of du -ah: http://pastebin.com/HcMkg6f5. There are
some added otf fonts, but removing them didn't change the size of resulting
zip file.
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Re: LilyBin embedded [WAS: New LilyPond website]

[marc]

Using a subdomain as proposed (live.lilypond.org), the whole lilybin stuff could be outsourced to a different server ... finding someone who provides this possibility/server is another story.But I like the "try it!" approach very much.MarcAm 22.02.2017 10:49 vorm. schrieb Phil Holmes :






We have a policy of not using server CPU for 
processing on lilypond.org, because it's donated to us at no cost - so I don't 
think lilybin could be hosted on the lilypond.org site.
--Phil Holmes
 
 

  - Original Message - 
  From: 
  tisimst 
  To: lilypond-user@gnu.org 
  Sent: Tuesday, February 21, 2017 4:55 
  PM
  Subject: Re: LilyBin embedded [WAS: New 
  LilyPond website]
  
  
  
  On Mon, Feb 20, 2017 at 9:41 AM, Phil Holmes-2 [via 
  Lilypond] <[hidden email]> wrote:
   
Lilypond.org gets around 700 sessions per day, 
according to Google analytics.
--Phil Holmes
 
 

  - Original Message - 
  From: [hidden email] 
  To: [hidden email] ; [hidden email] 
  Cc: [hidden email] ; [hidden email] 
  Sent: Monday, February 20, 2017 3:58 
  PM
  Subject: Re: LilyBin embedded [WAS: 
  New LilyPond website]
  
  I'm primarily responsible for LilyBin. A year or so 
  ago, Timothy Gu (copied) and I got LilyPond running in AWS Lambda, which 
  should be able to handle plenty of traffic. I get 266,667 seconds of free 
  computation time per month from Amazon. We used 38,094 seconds in 
  January for 18,398 requests, meaning we should be able to handle—very 
  roughly estimating—100,000 more requests per month. How many visitors does 
  lilypond.org get? 
  
  The LilyBin UI isn't made to be embeddable, but could be made so. I'd 
  probably recommend just wiring up CodeMirror and PDF.js yourself rather than trying to show LilyBin in 
  an iframe.
  
  I'll be happy to work with you if you want a LilyBin-powered 
  demo on the home page!
  I love the idea of being able to let visitors try out LP code right there 
  when browsing the home page. I wonder if a dedicated subdomain (e.g., live.lilypond.org) would be more appropriate? 
  
  Here's what I'm thinking. 
  
  Each LP example in the docs has a real source file associated with it, 
  right? So,...
  
  1. Put LilyBin functionality at live.lilypond.org
  2. Put all the doc's source files in a directory structure that the new 
  site can access (ideally, through a web-navigate-able directory tree)
  3. Place a "Try this live!" link next to each score example in the docs 
  (or the image hyperlink) that points to the specific file in #2 that the 
  visitor can play around with (but can't save over), rather than just linking 
  to a plain text file
  
  This is a wish list, of course, but could be a very cool feature for 
  new/potential users wanting to get their feet wet.
  
  Best,
  Abraham
  
  View this message in context: Re: 
  LilyBin embedded [WAS: New LilyPond website]Sent from the User mailing list 
  archive at Nabble.com.
  
  

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Re: LilyBin embedded [WAS: New LilyPond website]

[Henning Hraban Ramm]

Am 2017-02-22 um 10:49 schrieb Phil Holmes :

> We have a policy of not using server CPU for processing on lilypond.org, 
> because it's donated to us at no cost - so I don't think lilybin could be 
> hosted on the lilypond.org site.

But live.lilypond.org could point at the lilybin (or another) server.


Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net




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Re: LilyBin embedded [WAS: New LilyPond website]

[Phil Holmes]

We have a policy of not using server CPU for processing on lilypond.org, 
because it's donated to us at no cost - so I don't think lilybin could be 
hosted on the lilypond.org site.

--
Phil Holmes


  - Original Message - 
  From: tisimst 
  To: lilypond-user@gnu.org 
  Sent: Tuesday, February 21, 2017 4:55 PM
  Subject: Re: LilyBin embedded [WAS: New LilyPond website]






  On Mon, Feb 20, 2017 at 9:41 AM, Phil Holmes-2 [via Lilypond] <[hidden 
email]> wrote:

 
Lilypond.org gets around 700 sessions per day, according to Google 
analytics.

--
Phil Holmes


  - Original Message - 
  From: [hidden email] 
  To: [hidden email] ; [hidden email] 
  Cc: [hidden email] ; [hidden email] 
  Sent: Monday, February 20, 2017 3:58 PM
  Subject: Re: LilyBin embedded [WAS: New LilyPond website]


  I'm primarily responsible for LilyBin. A year or so ago, Timothy Gu 
(copied) and I got LilyPond running in AWS Lambda, which should be able to 
handle plenty of traffic. I get 266,667 seconds of free computation time per 
month from Amazon. We used 38,094 seconds in January for 18,398 requests, 
meaning we should be able to handle—very roughly estimating—100,000 more 
requests per month. How many visitors does lilypond.org get? 


  The LilyBin UI isn't made to be embeddable, but could be made so. I'd 
probably recommend just wiring up CodeMirror and PDF.js yourself rather than 
trying to show LilyBin in an iframe.


  I'll be happy to work with you if you want a LilyBin-powered demo on the 
home page!
  I love the idea of being able to let visitors try out LP code right there 
when browsing the home page. I wonder if a dedicated subdomain (e.g., 
live.lilypond.org) would be more appropriate? 


  Here's what I'm thinking. 


  Each LP example in the docs has a real source file associated with it, right? 
So,...


  1. Put LilyBin functionality at live.lilypond.org
  2. Put all the doc's source files in a directory structure that the new site 
can access (ideally, through a web-navigate-able directory tree)
  3. Place a "Try this live!" link next to each score example in the docs (or 
the image hyperlink) that points to the specific file in #2 that the visitor 
can play around with (but can't save over), rather than just linking to a plain 
text file


  This is a wish list, of course, but could be a very cool feature for 
new/potential users wanting to get their feet wet.



  Best,
  Abraham


--
  View this message in context: Re: LilyBin embedded [WAS: New LilyPond website]
  Sent from the User mailing list archive at Nabble.com.



--


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Re: Different spacings indifferent staves

[Alexander Kobel]

Hi Pierre,

On 2017-02-22 10:28, Les Éditions Valmajour - pg wrote:
> Hi Alexander!
> 
> The Naudot was engraved with MuseScore, not Lilypond. Only the three
> pieces at the top of the list are done with Lily (the Concertino is
> not ready yet).

ah, I see.  I recognized Lily's treble clef, but didn't think of such a simple 
reason.

> I read some time ago about that problem, because I
> wanted to do the same for the Chédeville (multiple short pieces
> sometimes connected), but I couldn't find out, at least with my
> average knowledge of the Lilypond possibilities.

That's why I was so surprised.  To the best of my knowledge, there is no way to 
achieve that with more-or-less mundane Lilypond invocations alone.  My best bet 
so far is that the staves can be interrupted and resumed, but you'd still have 
to add the SystemStartDelimiters (Bracket, Brace, etc.) manually on the 
output...


Cheers,
Alexander


> Le 22/02/2017 à 00:17, Alexander Kobel a écrit :
>> Hi Pierre,
>> 
>> sorry to hear - I hoped that this might give you the desired
>> result. I'm out of other ideas for that problem, unfortunately.
>> 
>> On a different note:  I just had a quick look at your webpage, and
>> stumbled across the Dixième Œuvre by Naudot.  In the preview, the
>> first page shows something I never managed to typeset with Lily:
>> the "suspended" system with the "D.C. al fine" mark.  Am I correct
>> that this piece is engraved using Lily, too?  Would you mind
>> sharing how you managed to interrupt the system there and, in
>> particular, how you could get a new SystemStartBracket for the rest
>> of the line?
>> 
>> 
>> Cheers, Alexander
>> 
>> 
>> On 2017-02-21 20:25, Les Éditions Valmajour - pg wrote:
>>> Hi Alexander,
>>> 
>>> First of all, my apologies for replying so late, I was away from
>>> home without my computer to test.
>>> 
>>> I tried a few things with the SpacingSpanner, but none works in
>>> the direction I want. I tried your solution, it doesn't work
>>> either. I may have placed the commands in the wrong place, but I
>>> don't think so.
>>> 
>>> Thanks!
>>> 
>>> Pierre
>>> 
>>> 
>>> Le 13/02/2017 à 16:53, Alexander Kobel a écrit :
 Hi Pierre,
 
 On 2017-02-13 10:57, Les Éditions Valmajour - pg wrote:
> Hello co-listers,
> 
> does anyone know if there a way to apply different
> horizontal spacings to different staves, whithin the same
> bar?
> 
> In the attached example, the stemless notes are 16ths. I
> would like the stemless notes to be strictly evenly spaced,
> [...]
 How about using \override
 Score.SpacingSpanner.strict-note-spacing = ##t (see Notation
 reference, sec. 4.5.5)? You might want to add a
 \newSpacingSection between b-. and c-. (so before the first
 note after \bar "|."), in case you want to acknowledge the
 barline in the spacing.
 
 
 HTH, Alexander
>>> 
> 


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Re: Different spacings indifferent staves

[Les Éditions Valmajour - pg]

Hi Alexander!

The Naudot was engraved with MuseScore, not Lilypond. Only the three 
pieces at the top of the list are done with Lily (the Concertino is not 
ready yet). I read some time ago about that problem, because I wanted to 
do the same for the Chédeville (multiple short pieces sometimes 
connected), but I couldn't find out, at least with my average knowledge 
of the Lilypond possibilities.


Cheers,

Pierre


Le 22/02/2017 à 00:17, Alexander Kobel a écrit :

Hi Pierre,

sorry to hear - I hoped that this might give you the desired result. 
I'm out of other ideas for that problem, unfortunately.


On a different note:  I just had a quick look at your webpage, and 
stumbled across the Dixième Œuvre by Naudot.  In the preview, the 
first page shows something I never managed to typeset with Lily: the 
"suspended" system with the "D.C. al fine" mark.  Am I correct that 
this piece is engraved using Lily, too?  Would you mind sharing how 
you managed to interrupt the system there and, in particular, how you 
could get a new SystemStartBracket for the rest of the line?



Cheers,
Alexander


On 2017-02-21 20:25, Les Éditions Valmajour - pg wrote:

Hi Alexander,

First of all, my apologies for replying so late, I was away from home
without my computer to test.

I tried a few things with the SpacingSpanner, but none works in the
direction I want. I tried your solution, it doesn't work either. I may
have placed the commands in the wrong place, but I don't think so.

Thanks!

Pierre


Le 13/02/2017 à 16:53, Alexander Kobel a écrit :

Hi Pierre,

On 2017-02-13 10:57, Les Éditions Valmajour - pg wrote:

Hello co-listers,

does anyone know if there a way to apply different horizontal
spacings to different staves, whithin the same bar?

In the attached example, the stemless notes are 16ths. I would like
the stemless notes to be strictly evenly spaced, [...]

How about using \override Score.SpacingSpanner.strict-note-spacing =
##t (see Notation reference, sec. 4.5.5)?
You might want to add a \newSpacingSection between b-. and c-. (so
before the first note after \bar "|."), in case you want to
acknowledge the barline in the spacing.


HTH,
Alexander




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