Re: lilypond.org Productions page

[Partitura Organum]

I think we should rather try to do a general collection among users (but
this should reach more channels than just this list) to get a number of
new entries for the page that makes it a little more impressive.

A mention of my website would be nice: http://partitura.org
I use Lilypond and Frescobaldi to create new score of organ music from 
manuscript sources. Lilypond and Frescobalde are both mentioned, so it 
could be a nice showcase.


Regards,
Auke







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Re: Custom AccidentalStyle

[David Wright]

On Fri 07 Dec 2018 at 19:05:32 (+0100), Simon Albrecht wrote:
> In case you should arrive at the point where you really want a custom
> accidental style: I have done that before and already posted a (brief)
> explanation and full example file to this list. The search engine in
> the archive seems to be on strike right now, but you should be able to
> find it (maybe with ‘custom accidental style baroque’).

Is it perhaps this on lilypond-devel:
http://lists.gnu.org/archive/html/lilypond-devel/2016-05/msg00119.html

Cheers,
David.

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Re: using Lilypond as a graphical drawing app

[Kieren MacMillan]

Hey-braham!

> I can’t even begin to suppose how you did this.

Actually, it was pretty simple:
1. take a couple of lines (some rotated), a couple of circled markups (note 
names), a couple of triangles, and a couple of arrows;
2. throw them all in a \markup \overlay block with liberal use of \translate.

=)

What would be *really* impressive would be this in a framework, where you could 
simply give (e.g.) the top left and bottom right coordinates for the graph, and 
say triangles to fill with which colour(s), and a completed Tonnetz graph would 
pop out automatically. That might have to wait for some "spare time" in the 
future…

> Way to go

Thanks!
Kieren.


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


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Re: Does LilyPond on MacOS 10.14 (Mojave)?

[Gail Rein]

Trevor, great to know. Thank YOU!
Gail

On Dec 7, 2018, at 10:28 AM, Trevor Bača mailto:trevorb...@gmail.com>> wrote:

Hi Gail,

I've been running LilyPond 2.19.82 very intensively under Mojave for several 
weeks; everything works perfectly.

Trevor.

On Sun, Nov 11, 2018 at 12:26 PM Jean-Julien Fleck mailto:jeanjulien.fl...@gmail.com>> wrote:
Hello Gail,
Le dim. 11 nov. 2018 à 18:41, Gail Rein mailto:rein.g...@gmail.com>> a écrit :
I am thinking it is time to move from MacOS High Sierra to Mojave. System 
information for LilyPond 2.18.2-1 says it is not a 64-bit application, which I 
understand can be a problem for Mojave.

If you have experience using LilyPond 2.18.2-1 (current stable version for 
MacOS) on MacOS 10.14 Mojave, I would appreciate your sharing if it was 
transparent or not. 

I just installed the MacOSX 2.18.2-1 version from lilypond.org 
 on Mojave and it seems to be working just fine (at least 
on a trivial example).
I also tried Frescobaldi and it works just fine as well.

Cheers,

-- 
JJ Fleck
Physique et Informatique
PCSI1 Lycée Kléber
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-- 
Trevor Bača
www.trevorbaca.com 
soundcloud.com/trevorbaca 

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Re: using Lilypond as a graphical drawing app

[Abraham Lee]

On Fri, Dec 7, 2018 at 1:24 PM Henning Hraban Ramm 
wrote:

> Am 2018-12-07 um 20:57 schrieb Kieren MacMillan <
> kieren_macmil...@sympatico.ca>:
>
> > As a further example of what Lilypond is capable of, and how I’m pushing
> it — in this case, for jobs engraving other people’s music and music theory
> articles — consider the following Riemannian Tonnetz graph [excerpt] I just
> finished engraving:
> >
> > 
> >
> > Lilypond is so amazing.  =)
>
> And you, apparently. Just wow.


Kieren, you put us to shame ;-) I can’t even begin to suppose how you did
this.

Way to go,
Abraham

>
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Re: using Lilypond as a graphical drawing app

[Henning Hraban Ramm]

Am 2018-12-07 um 20:57 schrieb Kieren MacMillan :

> As a further example of what Lilypond is capable of, and how I’m pushing it — 
> in this case, for jobs engraving other people’s music and music theory 
> articles — consider the following Riemannian Tonnetz graph [excerpt] I just 
> finished engraving:
> 
> 
> 
> Lilypond is so amazing.  =)

And you, apparently. Just wow.


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





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using Lilypond as a graphical drawing app

[Kieren MacMillan]

Hello all,

As a further example of what Lilypond is capable of, and how I’m pushing it — 
in this case, for jobs engraving other people’s music and music theory articles 
— consider the following Riemannian Tonnetz graph [excerpt] I just finished 
engraving:



Intégral32_ProtoHarmony_Ex8c.pdf
Description: Adobe PDF document


Lilypond is so amazing.  =)

Cheers,
Kieren.


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

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Re: Line-breaking with non-aligned barlines - again!

[David Sumbler]

-Original Message-
From: Mark Stephen Mrotek 
To: da...@aeolia.co.uk, lilypond-user@gnu.org
Subject: RE: Line-breaking with non-aligned barlines - again!
Date: Fri, 7 Dec 2018 10:17:43 -0800

David,

How about marking the part "ad libitum?"
Or perhaps making it bar-less as in a cadenza?

Mark

*

Thanks for the suggestions, but they won't really do in this particular
case.  The harpsichord solo is very definitely not "ad libitum", but
must be in strict, quasi-mechanical time.  It is not in any way like a
cadenza and, since the 8 bars that it plays here are actually 2
repetitions of something it played earlier, suddenly to show them
without barlines would confuse matters rather than clarifying them.

David


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Re: [lyric sheet stylesheet] fixing lyric spacing

[Carl Sorensen]

On 12/7/18, 12:10 PM, "Kieren MacMillan"  wrote:

Hi Carl,

> I've just been doing some choral engraving where lyric hyphens are 
eliminated where there is no space.  And I haven't used any special tools.

But if you look at "people" (for example), you’ll see there’s a space (but 
no hyphen) there.
I’m trying to generate "perfect" words.

Right.  It appears to me that there are two things going on.  One when there is 
no space for a hyphen, but there is space for the syllable.  And another where 
there is no space for the syllable (and hence not for the hyphen either).  I 
only get perfect words when the syllable space exceeds the note space.  By 
increasing the font size, people becomes a "perfect" word.

\version "2.19.80"
global = {
  \key g \major
  \numericTimeSignature
  \time 3/4
}

bass = \relative c {
  \global
  % Music follows here.
   r4 r d4 |
  g8 g16( fis) g4. a8 |
  b8 c d4 r8 d |
  c8 b g( d4) e8 |
  f8 g f4 r8 r |


}

bassVerse = \lyricmode {
  % Lyrics follow here.
  Good peo -- ple __ all, this Christ -- mas -- time
  Con -- si -- der well __ and bear in mind
}

\score { <<
  \new Staff = "tb" {
\clef bass
\new Voice = "bass" {\bass}
  }
  \new Lyrics \with{
\override LyricText #'font-size = #2
  } \lyricsto "bass" \bassVerse
>>
\layout{}
}



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Re: [lyric sheet stylesheet] fixing lyric spacing

[Kieren MacMillan]

Hi Carl,

> I've just been doing some choral engraving where lyric hyphens are eliminated 
> where there is no space.  And I haven't used any special tools.

But if you look at "people" (for example), you’ll see there’s a space (but no 
hyphen) there.
I’m trying to generate "perfect" words.

Thanks,
Kieren.


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


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Re: [lyric sheet stylesheet] fixing lyric spacing

[Carl Sorensen]

On 12/7/18, 11:19 AM, "Alexander Kobel"  wrote:

Hi Kieren,

without even looking at your example, to be honest, but a shot in the dark:

Fo you still remember David's and Mike's "magnetic snapping lyrics"?
   https://lists.gnu.org/archive/html/lilypond-user/2014-03/msg00489.html
This snippet eventually went into OpenLilyLib, and was apparently 
rediscovered as non-working about a year ago by Urs, see
 

http://lilypond.1069038.n5.nabble.com/Is-the-lyric-syllable-magnetic-snap-snippet-obsolete-td204403.html

I've just been doing some choral engraving where lyric hyphens are eliminated 
where there is no space.  And I haven't used any special tools.  It may only 
work where \textWidthOn has added space to the notes.

Consider Christmastime in the following snippet.

Carl


\version "2.19.80"
global = {
  \key g \major
  \numericTimeSignature
  \time 3/4
}

bass = \relative c {
  \global
  % Music follows here.
   r4 r d4 |
  g8 g16( fis) g4. a8 |
  b8 c d4 r8 d |
  c8 b g( d4) e8 |
  f8 g f4 r8 r |


}

bassVerse = \lyricmode {
  % Lyrics follow here.
  Good peo -- ple __ all, this Christ -- mas -- time
  Con -- si -- der well __ and bear in mind
}

\score { <<
  \new Staff = "tb" {
\clef bass
\new Voice = "bass" {\bass}
  }
  \new Lyrics \with{
\override LyricText #'font-size = #-1
  } \lyricsto "bass" \bassVerse
>>
\layout{}
}



 

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Re: Schenker graph example

[Kieren MacMillan]

Hi Trevor,

> Wow, what astoundingly professional output; it's a joy to look at

Thanks! Hopefully the people who are paying me to engrave it feel the same way. 
 =)

> the whitespace is, actually, perfect.

Aw, shucks…

> Thanks so much sending across; bit of a triumph.

Thanks for the kind words.

Best,
Kieren.


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


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Re: [lyric sheet stylesheet] fixing lyric spacing

[Kieren MacMillan]

Hi Alex,

> David's and Mike's "magnetic snapping lyrics"?
>  https://lists.gnu.org/archive/html/lilypond-user/2014-03/msg00489.html

Yes — I have an old copy in my "Workarounds" include folder. But I ran into a 
lot of problems with it (maybe related to what Urs found?) and so had 
temporarily given up on it.

> I attach my most recent copy...

Thanks! I’ll see whether it helps.

> To see in action:
> http://www.cpdl.org/wiki/index.php/Es_ist_ein_Ros%27_entsprungen_(Melchior_Vulpius)

Okay… first of all: What a gorgeous score! Fabulous font choices, spacing is 
perfect, whitespace is excellent. Well done.

> But I only ever used it in the "usual" applications with notes, and never 
> tried on a pure chord sheet.

I’ll let you know how it works out!

Thanks,
Kieren.


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


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RE: Line-breaking with non-aligned barlines - again!

[Mark Stephen Mrotek]

David,

How about marking the part "ad libitum?"
Or perhaps making it bar-less as in a cadenza?

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of David Sumbler
Sent: Friday, December 07, 2018 9:24 AM
To: lilypond-user@gnu.org
Subject: Line-breaking with non-aligned barlines - again!

A few weeks back I wrote asking about a problem with a passage where one 
instrument is playing at a different speed from the rest, and with barlines 
that do not align with those in the other instruments.

Now I have a similar passage, but it has thrown up another difficulty, which I 
can't so far find a solution to.

In this passage, one instrument (harpsichord) plays 8 bars in 4/4 time, 
consisting mainly of semiquavers (sixteenths).  It has to be played in strict 
time at its own tempo (4 = 108) which is quicker than the rest of the orchestra 
is playing.

Although the harpsichord part must appear in the score, it is important that it 
is clear that it doesn't "fit" with the other instruments.  It starts at a 
common barline, but thereafter it does its own thing, so the positioning of the 
notes in the score is merely a suggestion of what is going on: in performance 
it won't necessarily fit precisely as it is shown in the score, and does not 
need to.

By using scaled durations etc. I can get roughly the effect I want. 
But is it spoiled by one thing: there is a 4/4 time signature in all 
instruments (including the harpsichord) at the beginning of the passage, but 
there are also a couple of further time changes in the orchestra only.  It is 
easy enough to prevent these from appearing in the harpsichord part; but 
because Lilypond is actually synchronising things vertically (just as one wants 
it to 99.99% of the time) in this case it ruins the effect.  There is a gap 
between successive notes in the harpsichord to allow for the time signature 
displayed in all the other staves.

I can illustrate the problem with the code below.

%
\version "2.19.82"

\paper {
  ragged-right = ##f }

harps = { \time 2/4
  \scaleDurations 8/11 { b16[ b b b] b[ b b b] \bar "|"
\noBreak b[ b b \bar"" }
  \noBreak
  \override Staff.TimeSignature.stencil = ##f
  \time 3/8
  \scaleDurations 3/4 { b16] b[ b b b] \bar "|" \noBreak b[ b b \bar"" }
  \noBreak
  \time 5/8
  \scaleDurations 10/13 { b16] b[ b b b] \bar"|" \noBreak  b[ b b b] b[ b b 
b] } }

\score {
  \new Staff {
\time 2/4 \repeat unfold 32 b16 } }

\score {
  \new Staff { \harps } }

\score {
  << \new Staff { \harps }
  \new Staff {
\time 2/4 b4 b |
\time 3/8 b4 b8 |
\time 5/8 b4 b b8 | }
   >>
  \layout {
\context { \Score
   \remove "Timing_translator"
   \remove "Default_bar_line_engraver"
 }
\context {
  \Staff
  \consists "Timing_translator"
  \consists "Default_bar_line_engraver"
}
  }
}
%

I attach a png file of the output of the above code.

The first line of the output shows how I would like it to appear.  The second 
line shows how it appears when I apply the scaled durations - this also is 
entirely satisfactory: the slight differences in positioning would be 
unnoticeable without the preceding line for comparison.

The final version shows what happens when the "orchestra" lines are added.  
This is not satisfactory, because the distortions in the upper line suggest 
that the notes in the upper line should be precisely synchronised with the 
other line, which is not the case at all.  Of course I can put a verbal 
instruction in the score (and the parts), but it would be nice to illustrate 
this more clearly in the musical notation.

Can anyone think of a way of getting Lilypond to space the harpsichord
line(s) over the width between margins on each page - or possibly from barline 
to barline of the lower stave(s) if that is easier - without regard to the 
detail of what is happening in those other staves?

The only approach I can think of at the moment is to treat the line of 
harpsichord notes as a completely separate score from the rest, and then 
somehow join them into one system with a vertical line at the left.  This would 
make generating the score for this passage very complicated, even if I knew how 
to do it!

Am hoping for Lilypond to do something which it can't possibly be made to do?

David


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Re: [lyric sheet stylesheet] fixing lyric spacing

[Alexander Kobel]

Hi Kieren,

without even looking at your example, to be honest, but a shot in the dark:

Fo you still remember David's and Mike's "magnetic snapping lyrics"?
  https://lists.gnu.org/archive/html/lilypond-user/2014-03/msg00489.html
This snippet eventually went into OpenLilyLib, and was apparently 
rediscovered as non-working about a year ago by Urs, see


http://lilypond.1069038.n5.nabble.com/Is-the-lyric-syllable-magnetic-snap-snippet-obsolete-td204403.html

Not sure about the problems that are claimed to exist, and not sure 
where I got my last version from or whether I privately patched it; but 
I couldn't find any issues with it few weeks ago. I attach my most 
recent copy...


To be used with, IIRC, \include and

\layout {
  \context {
\Lyrics
\override LyricWord.after-line-breaking = #(lyric-word-compressor 0)
  }
}

(and I have no idea anymore what's the 0 got to do with it, and what 
changes if you use other values...)



To see in action:

http://www.cpdl.org/wiki/index.php/Es_ist_ein_Ros%27_entsprungen_(Melchior_Vulpius)

- first system: entsprung -- en (instead of ent -- sprung -- en)
- last system: Blümlein (instead of Blüm -- lein)

(source files are there, too)


But I only ever used it in the "usual" applications with notes, and 
never tried on a pure chord sheet.



HTH nevertheless,
Alex


On 12/07/2018 06:18 PM, Kieren MacMillan wrote:

Hi all,

In the snippet below, I’m trying to develop some custom contexts so that people 
can write out lyrics with chords (but no music).

Right now, I’m trying to fix two things:

1. I want to eliminate all LyricHyphens entirely, and present words as complete words 
(rather than syllables). This would be solved, of course, if we had a "first-class 
citizen" LyricWord grob (q.v. the discussion a few years ago during Janek’s GSOC 
Lyrics work). Short of that, what can I do to squeeze out all LyricHyphens and spaces 
between syllables?

2. I want lyrics to be naturally spaced (i.e., not affected at all by the duration of the 
notes they are attached to). In the first line of output from the snippet, there are 
spaces "Mary  had a  little lamb" etc. How can I eliminate those?

Thanks,
Kieren.

%%%  SNIPPET BEGINS

\version "2.19.80"

\paper {
   indent = 0
   ragged-right = ##t
   system-system-spacing = #'((basic-distance . 6) (minimum-distance . 6) 
(padding . 2.5) (stretchability . 0))
   score-system-spacing.padding = #12
}

\layout {
   \context {
 \ChordNames
 \override ChordName.font-name = #"Alegreya Medium"
 \override VerticalAxisGroup.staff-affinity = #DOWN
 \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
 #'((basic-distance . 2.5) (minimum-distance . 2.5) (padding . 1.25) 
(stretchability . 0))
   }
   \context {
 \Lyrics
 \override LyricText.font-name = #"Alegreya"
 \override VerticalAxisGroup.staff-affinity = #UP
 \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
 #'((basic-distance . 5.5) (minimum-distance . 5.5) (padding . 1.25) 
(stretchability . 0))
   }
   \context {
 \ChordNames
 \name LyricSheetChords
 \alias ChordNames
 \inherit-acceptability LyricSheetChords ChordNames
 \override VerticalAxisGroup.nonstaff-nonstaff-spacing =
 #'((basic-distance . 1) (minimum-distance . 1) (padding . 1) 
(stretchability . 0))
   }
   \context {
 \Lyrics
 \name LyricSheetLyrics
 \alias Lyrics
 \inherit-acceptability LyricSheetLyrics Lyrics
 \override VerticalAxisGroup.staff-affinity = #UP
 \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
 #'((basic-distance . 3) (minimum-distance . 3) (padding . 2) 
(stretchability . 0))
 \override LyricText.self-alignment-X = #-0.9
 \override LyricSpace.minimum-distance = #0.625
 \override LyricSpace.minimum-length = #0.5
   }
}

theMelody = {
   e'4 d' c' d'
   e'4 4 4 4
   d'4 4 e' d'
   c'2 r4 d'
   e'4 d' c' d'
   e'4 4 4 4
   d'4 4 e' d'
   c'2. r4
}

theChords = \chordmode {
   c2 f
   c1
   d2:m g
   c1
   c2 f
   c1
   d2:m g
   c1
}

lyricsbreak =  \tag #'lyricsheet { \bar "" \break }

theWords = \lyricmode {
   Mar -- y had a lit -- tle lamb,
   \lyricsbreak
   Its fleece was white as snow.
   \lyricsbreak
   And ev -- ery -- where that Mar -- y went
   \lyricsbreak
   The lamb was sure to go.
}

\score {
   \removeWithTag #'lyricsheet <<
 \new ChordNames \theChords
 \new Staff \new Voice = "melody" \theMelody
 \new Lyrics \lyricsto "melody" \theWords
   >>
   \layout {
 ragged-right = ##f
   }
}

\score {
   \keepWithTag #'lyricsheet <<
 \new ChordNames \theChords
 \new Devnull = "melody" \theMelody
 \new LyricSheetLyrics \lyricsto "melody" \theWords
   >>
   \layout {
 line-width = 6\in
 indent = 2\in
 short-indent = 2\in
 \context {
   \Score
   \remove "Bar_number_engraver"
   \remove "Bar_engraver"
 }
   }
}

%%%  SNIPPET ENDS


Kieren MacMillan, 

Re: Schenker graph example

[Trevor Bača]

Hi Kieren,

Wow, what astoundingly professional output; it's a joy to look at and the
voice-leading relationships are all *immediately* clear ... the whitespace
is, actually, perfect.

Thanks so much sending across; bit of a triumph.

Trevor.


On Mon, Dec 3, 2018 at 11:44 AM Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hello all,
>
> Just thought you might like to see the kind of thing I’m doing with Lily
> right now:
>
>
> Thanks to everyone who makes it possible!
>
> Cheers,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
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-- 
Trevor Bača
www.trevorbaca.com
soundcloud.com/trevorbaca
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Re: Custom AccidentalStyle

[Simon Albrecht]

In case you should arrive at the point where you really want a custom 
accidental style: I have done that before and already posted a (brief) 
explanation and full example file to this list. The search engine in the 
archive seems to be on strike right now, but you should be able to find 
it (maybe with ‘custom accidental style baroque’).


Best, Simon

On 07.12.18 16:55, Mansour Aoun wrote:

Indeed it is. Thanks!
i was disregarding it because of the non-repetition of accidentals for
repeated notes since I was looking for an absolute solution where it would
repeat the accidental even for repeated notes but for the piece I'm working
on, neo-modern will do a good job.

Mansour



--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

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Re: Polymeter Question

[Trevor Bača]

Hi Zvony,

Have you tried ...

\layout { \context { \Voice \remove Forbid_line_break_engraver } }

... yet?

Removing the Forbid_line_break_engraver allows LilyPond to break a system
of music *in the middle of ongoing note's duration* (which have a way of
arising anytime the polymetry goes on for a bit).

Trevor.


On Mon, Nov 19, 2018 at 4:54 PM nagymusic  wrote:

> I'm working on a flute and marimba duet that features a polymetric passage.
> Would someone be able to suggest how to fix the typeset music to respect
> automatic line breaks? Currently, it just runs off the page...  (see
> attached .ly file)? I browsed the forum and gather that there could be an
> issue with this but wasn't able to find a solution. Thank you for your
> help!
> polymeter_test.ly
> 
>
>
>
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>
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Re: Does LilyPond on MacOS 10.14 (Mojave)?

[Trevor Bača]

Hi Gail,

I've been running LilyPond 2.19.82 very intensively under Mojave for
several weeks; everything works perfectly.

Trevor.

On Sun, Nov 11, 2018 at 12:26 PM Jean-Julien Fleck <
jeanjulien.fl...@gmail.com> wrote:

> Hello Gail,
> Le dim. 11 nov. 2018 à 18:41, Gail Rein  a écrit :
>
>> I am thinking it is time to move from MacOS High Sierra to Mojave. System
>> information for LilyPond 2.18.2-1 says it is not a 64-bit application,
>> which I understand can be a problem for Mojave.
>>
>> If you have experience using LilyPond 2.18.2-1 (current stable version
>> for MacOS) on MacOS 10.14 Mojave, I would appreciate your sharing if it was
>> transparent or not.
>>
>
> I just installed the MacOSX 2.18.2-1 version from lilypond.org on Mojave
> and it seems to be working just fine (at least on a trivial example).
> I also tried Frescobaldi and it works just fine as well.
>
> Cheers,
>
> --
> JJ Fleck
> Physique et Informatique
> PCSI1 Lycée Kléber
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Line-breaking with non-aligned barlines - again!

[David Sumbler]

A few weeks back I wrote asking about a problem with a passage where
one instrument is playing at a different speed from the rest, and with
barlines that do not align with those in the other instruments.

Now I have a similar passage, but it has thrown up another difficulty,
which I can't so far find a solution to.

In this passage, one instrument (harpsichord) plays 8 bars in 4/4 time,
consisting mainly of semiquavers (sixteenths).  It has to be played in
strict time at its own tempo (4 = 108) which is quicker than the rest
of the orchestra is playing.

Although the harpsichord part must appear in the score, it is important
that it is clear that it doesn't "fit" with the other instruments.  It
starts at a common barline, but thereafter it does its own thing, so
the positioning of the notes in the score is merely a suggestion of
what is going on: in performance it won't necessarily fit precisely as
it is shown in the score, and does not need to.

By using scaled durations etc. I can get roughly the effect I want. 
But is it spoiled by one thing: there is a 4/4 time signature in all
instruments (including the harpsichord) at the beginning of the
passage, but there are also a couple of further time changes in the
orchestra only.  It is easy enough to prevent these from appearing in
the harpsichord part; but because Lilypond is actually synchronising
things vertically (just as one wants it to 99.99% of the time) in this
case it ruins the effect.  There is a gap between successive notes in
the harpsichord to allow for the time signature displayed in all the
other staves.

I can illustrate the problem with the code below.

%
\version "2.19.82"

\paper {
  ragged-right = ##f }

harps = { \time 2/4
  \scaleDurations 8/11 { b16[ b b b] b[ b b b] \bar "|"
\noBreak b[ b b \bar"" }
  \noBreak
  \override Staff.TimeSignature.stencil = ##f
  \time 3/8
  \scaleDurations 3/4 { b16] b[ b b b] \bar "|" \noBreak b[ b b
\bar"" }
  \noBreak
  \time 5/8
  \scaleDurations 10/13 { b16] b[ b b b] \bar"|" \noBreak  b[ b b
b] b[ b b b] } }

\score {
  \new Staff {
\time 2/4 \repeat unfold 32 b16 } }

\score {
  \new Staff { \harps } }

\score {
  << \new Staff { \harps }
  \new Staff {
\time 2/4 b4 b |
\time 3/8 b4 b8 |
\time 5/8 b4 b b8 | }
   >>
  \layout {
\context { \Score
   \remove "Timing_translator"
   \remove "Default_bar_line_engraver"
 }
\context {
  \Staff
  \consists "Timing_translator"
  \consists "Default_bar_line_engraver"
}
  }
}
%

I attach a png file of the output of the above code.

The first line of the output shows how I would like it to appear.  The
second line shows how it appears when I apply the scaled durations -
this also is entirely satisfactory: the slight differences in
positioning would be unnoticeable without the preceding line for
comparison.

The final version shows what happens when the "orchestra" lines are
added.  This is not satisfactory, because the distortions in the upper
line suggest that the notes in the upper line should be precisely
synchronised with the other line, which is not the case at all.  Of
course I can put a verbal instruction in the score (and the parts), but
it would be nice to illustrate this more clearly in the musical
notation.

Can anyone think of a way of getting Lilypond to space the harpsichord
line(s) over the width between margins on each page - or possibly from
barline to barline of the lower stave(s) if that is easier - without
regard to the detail of what is happening in those other staves?

The only approach I can think of at the moment is to treat the line of
harpsichord notes as a completely separate score from the rest, and
then somehow join them into one system with a vertical line at the
left.  This would make generating the score for this passage very
complicated, even if I knew how to do it!

Am hoping for Lilypond to do something which it can't possibly be made
to do?

David
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[lyric sheet stylesheet] fixing lyric spacing

[Kieren MacMillan]

Hi all,

In the snippet below, I’m trying to develop some custom contexts so that people 
can write out lyrics with chords (but no music).

Right now, I’m trying to fix two things:

1. I want to eliminate all LyricHyphens entirely, and present words as complete 
words (rather than syllables). This would be solved, of course, if we had a 
"first-class citizen" LyricWord grob (q.v. the discussion a few years ago 
during Janek’s GSOC Lyrics work). Short of that, what can I do to squeeze out 
all LyricHyphens and spaces between syllables?

2. I want lyrics to be naturally spaced (i.e., not affected at all by the 
duration of the notes they are attached to). In the first line of output from 
the snippet, there are spaces "Mary  had a  little lamb" etc. How can I 
eliminate those?

Thanks,
Kieren.

%%%  SNIPPET BEGINS

\version "2.19.80"

\paper {
  indent = 0
  ragged-right = ##t
  system-system-spacing = #'((basic-distance . 6) (minimum-distance . 6) 
(padding . 2.5) (stretchability . 0))
  score-system-spacing.padding = #12
}

\layout {
  \context {
\ChordNames
\override ChordName.font-name = #"Alegreya Medium"
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 2.5) (minimum-distance . 2.5) (padding . 1.25) 
(stretchability . 0))
  }
  \context {
\Lyrics
\override LyricText.font-name = #"Alegreya"
\override VerticalAxisGroup.staff-affinity = #UP
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 5.5) (minimum-distance . 5.5) (padding . 1.25) 
(stretchability . 0))
  }
  \context {
\ChordNames
\name LyricSheetChords
\alias ChordNames
\inherit-acceptability LyricSheetChords ChordNames
\override VerticalAxisGroup.nonstaff-nonstaff-spacing =
#'((basic-distance . 1) (minimum-distance . 1) (padding . 1) 
(stretchability . 0))
  }
  \context {
\Lyrics
\name LyricSheetLyrics
\alias Lyrics
\inherit-acceptability LyricSheetLyrics Lyrics
\override VerticalAxisGroup.staff-affinity = #UP
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 3) (minimum-distance . 3) (padding . 2) 
(stretchability . 0))
\override LyricText.self-alignment-X = #-0.9
\override LyricSpace.minimum-distance = #0.625
\override LyricSpace.minimum-length = #0.5
  }
}

theMelody = {
  e'4 d' c' d'
  e'4 4 4 4
  d'4 4 e' d'
  c'2 r4 d'
  e'4 d' c' d'
  e'4 4 4 4
  d'4 4 e' d'
  c'2. r4
}

theChords = \chordmode {
  c2 f
  c1
  d2:m g
  c1
  c2 f
  c1
  d2:m g
  c1
}

lyricsbreak =  \tag #'lyricsheet { \bar "" \break }

theWords = \lyricmode {
  Mar -- y had a lit -- tle lamb,
  \lyricsbreak
  Its fleece was white as snow.
  \lyricsbreak
  And ev -- ery -- where that Mar -- y went
  \lyricsbreak
  The lamb was sure to go.
}

\score {
  \removeWithTag #'lyricsheet <<
\new ChordNames \theChords
\new Staff \new Voice = "melody" \theMelody
\new Lyrics \lyricsto "melody" \theWords
  >>
  \layout {
ragged-right = ##f
  }
}

\score {
  \keepWithTag #'lyricsheet <<
\new ChordNames \theChords
\new Devnull = "melody" \theMelody
\new LyricSheetLyrics \lyricsto "melody" \theWords
  >>
  \layout {
line-width = 6\in
indent = 2\in
short-indent = 2\in
\context {
  \Score
  \remove "Bar_number_engraver"
  \remove "Bar_engraver"
}
  }
}

%%%  SNIPPET ENDS


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


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Turkish percussion notation and changing stem direction for always

[Adam Good]

Hi Everyone,
I'm working on some Turkish usul percussion notation and the standard is,
rather oddly, to have the low pitched "dum" sound on the top line and
highest pitch "tek" sound on the low. See the snippet below.

Problem that I can't solve: stem direction needs to be the reverse of what
it is showing. Top line needs to point up, bottom line needs to point down.
Without adding \stemUp or \stemDown , could anyone help me and my lack of
coding skills?

btw have a look at a couple simple rhythms in turkish music here:
https://compmusic.upf.edu/examples-usul-mmt

Thank you very much in advance.
Adam


drumPitchNames =
#'((dum . kdl)
   (tek . kdh)
   )

#(for-each
  (lambda (k-v)
(module-define! (current-module)
  (car k-v)
  (alist->hash-table (cdr k-v)))
)
  '((kudum-style .
  ((kdl () #f 5)
   (kdh () #f -5)
   ))
))

nam = \lyricmode { dum4 tek tek dum }
mus = \drummode { dum4 tek tek dum }

<<
  \new DrumStaff \with {
\remove "Bar_engraver"
drumStyleTable = #kudum-style
\override StaffSymbol #'line-positions = #'(5 -5)
\remove "Time_signature_engraver"
\autoBeamOff
  }
  \mus
  \new Lyrics {
\override LyricText.font-family = #'typewriter
\nam
  }
>>
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Re: Custom AccidentalStyle

[Mansour Aoun]

Indeed it is. Thanks!
i was disregarding it because of the non-repetition of accidentals for
repeated notes since I was looking for an absolute solution where it would
repeat the accidental even for repeated notes but for the piece I'm working
on, neo-modern will do a good job. 

Mansour



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Re: Custom AccidentalStyle

[Phil Holmes]

- Original Message - 
From: "Mansour Aoun" 

To: 
Sent: Friday, December 07, 2018 3:36 PM
Subject: Re: Custom AccidentalStyle



Well not exactly. I'm just realising that what I'm after is a bit weirder
then it seems to me.
Here are three available styles and each with its respective problem (in
this case):

1- default:

problem: the sharps are remembered along the measure like the first note 
and

the one before the last, both are d-sharp but the accidental is only
mentioned at the first instance and I don't want that, I want the
accidentals repeated even in the same measure.

2- forget:

problem: doesn't add a natural sign if the note was preceded with an 
altered

note.

3- dodecaphonic:

problem: adds natural signs where they are not needed. A natural note in a
measure without a key signature does not need a natural sign if it was not
preceded in the same measure by an altered note.

What I'm looking for is this:

As you can see:
- the accidentals are not remembered along the measure
- if a note occurs in the measure for the first time in its natural state 
it

doesn't require a natural sign
- if note has been altered previously in the measure, when called in its
natural state requires a natural sign.

So if you want it is like a forget-cautionary if you want, reminding the
reader to recall the natural state of the note if it was altered earlier
during the measure.



neo-modern appears very close to what you want, and may be satisfactory for 
your use case?


--
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Re: Custom AccidentalStyle

[Mansour Aoun]

Well not exactly. I'm just realising that what I'm after is a bit weirder
then it seems to me. 
Here are three available styles and each with its respective problem (in
this case):

1- default:
 
problem: the sharps are remembered along the measure like the first note and
the one before the last, both are d-sharp but the accidental is only
mentioned at the first instance and I don't want that, I want the
accidentals repeated even in the same measure.

2- forget:
 
problem: doesn't add a natural sign if the note was preceded with an altered
note.

3- dodecaphonic: 
 
problem: adds natural signs where they are not needed. A natural note in a
measure without a key signature does not need a natural sign if it was not
preceded in the same measure by an altered note.

What I'm looking for is this:
 
As you can see: 
- the accidentals are not remembered along the measure
- if a note occurs in the measure for the first time in its natural state it
doesn't require a natural sign
- if note has been altered previously in the measure, when called in its
natural state requires a natural sign. 

So if you want it is like a forget-cautionary if you want, reminding the
reader to recall the natural state of the note if it was altered earlier
during the measure.



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Re: Generate staff-less chord and lyrics sheet

[Kieren MacMillan]

Hi Carl (et al.),

> I really find Kieren's solution to be interesting.

I’m glad!

Below, I’ve done a little custom-context-building, in the hopes we might 
crowd-source a real solution to this problem (which crops up on the list fairly 
often). I’ve added a way (using tags) to break lyrics at appropriate spots, 
independent of breaks in the musical score. I’ve also shown how lyrics could be 
"centred" on the page (using indents, etc.); of course, this could also be done 
using margins, but I wanted to see if it could be done on a single page (equiv. 
in a single bookpart).

Best,
Kieren.

\version "2.19.80"

\paper {
  indent = 0
  ragged-right = ##t
  system-system-spacing = #'((basic-distance . 6) (minimum-distance . 6) 
(padding . 2.5) (stretchability . 0))
  score-system-spacing.padding = #12
}

\layout {
  \context {
\ChordNames
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 2.5) (minimum-distance . 2.5) (padding . 1.25) 
(stretchability . 0))
  }
  \context {
\Lyrics
\override VerticalAxisGroup.staff-affinity = #UP
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 5.5) (minimum-distance . 5.5) (padding . 1.25) 
(stretchability . 0))
  }
  \context {
\ChordNames
\name LyricSheetChords
\alias ChordNames
\inherit-acceptability LyricSheetChords ChordNames
\override VerticalAxisGroup.nonstaff-nonstaff-spacing =
#'((basic-distance . 1) (minimum-distance . 1) (padding . 1) 
(stretchability . 0))
  }
  \context {
\Lyrics
\name LyricSheetLyrics
\alias Lyrics
\inherit-acceptability LyricSheetLyrics Lyrics
\override VerticalAxisGroup.staff-affinity = #UP
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 3) (minimum-distance . 3) (padding . 2) 
(stretchability . 0))
\override LyricHyphen.minimum-length = #0
\override LyricHyphen.minimum-distance = #0
\override LyricText.self-alignment-X = #-0.9
  }
}

lyricsbreak =  \tag #'lyricsheet { \bar "" \break }

theMelody = {
  e'4 d' c' d'
  e'4 4 4 \lyricsbreak 4
  d'4 4 e' d'
  c'2. r4
}

theChords = \chordmode {
  c2 f
  c1
  f2:6 g
  c1
}

theWords = \lyricmode {
  Mar -- y had a lit -- tle lamb,
  Its fleece was white as snow.
}

\score {
  \removeWithTag #'lyricsheet <<
\new ChordNames \theChords
\new Staff \new Voice = "melody" \theMelody
\new Lyrics \lyricsto "melody" \theWords
  >>
  \layout {
ragged-right = ##f
  }
}

\score {
  \keepWithTag #'lyricsheet <<
\new ChordNames \theChords
\new Devnull = "melody" \theMelody
\new LyricSheetLyrics \lyricsto "melody" \theWords
  >>
  \layout {
line-width = 6\in
indent = 2\in
short-indent = 2\in
\context {
  \Score
  \remove "Bar_number_engraver"
}
  }
}


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


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Re: Custom AccidentalStyle

[Phil Holmes]

- Original Message - 
From: "mansouraoun" 

To: 
Sent: Friday, December 07, 2018 1:31 PM
Subject: Custom AccidentalStyle



Hello everyone,

I'm trying to have a custom accidental style but I don't know exactly how 
am

i supposed to achieve this.

The one I'm looking for is fairly simple, it's between 'dodecaphonic' and
'forget':
Knowing that there's no key signature: write all accidentals for all 
notes,

but write naturals only if the note has been altered earlier on the same
octave and in the same measure.

For example in the image below:


The natural g should stay as it is, because it wasn't preceded with an
altered g on the same octave.
While the last note, the natural d, should have a natural sign because it
was preceded by a d sharp in the same measure.

I'm applying here the forget style.
The dodecaphonic style would insert a natural sign in front of the natural 
g

which I don't need and the forget style would not insert a natural sign in
front of the last d, which I need.

Thanks in advance,

Mansour



From the NR:


default

This is the default typesetting behavior. It corresponds to 
eighteenth-century common

practice: accidentals are remembered to the end of the measure in which they
occur and only in their own octave. Thus, in the example below, no natural 
signs

are printed before the b in the second measure or the last c:

Is this not what you want?


--
Phil Holmes 



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Custom AccidentalStyle

[mansouraoun]

Hello everyone, 

I'm trying to have a custom accidental style but I don't know exactly how am
i supposed to achieve this.

The one I'm looking for is fairly simple, it's between 'dodecaphonic' and
'forget':
Knowing that there's no key signature: write all accidentals for all notes,
but write naturals only if the note has been altered earlier on the same
octave and in the same measure. 

For example in the image below: 

 

The natural g should stay as it is, because it wasn't preceded with an
altered g on the same octave.
While the last note, the natural d, should have a natural sign because it
was preceded by a d sharp in the same measure. 

I'm applying here the forget style.
The dodecaphonic style would insert a natural sign in front of the natural g
which I don't need and the forget style would not insert a natural sign in
front of the last d, which I need. 

Thanks in advance,

Mansour



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Re: Music-function "arguments" - help

[mansouraoun]

Well I was earlier trying the \etc method only to realise that it wasn't
available for 2.18. Yes indeed it is simpler but the function method gives
me more control over what I want to achieve, and even if the \etc had worked
on 2.18 I would still want to know how to write a correct music function. 

Mansour



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Re: Music-function "arguments" - help

[David Kastrup]

Urs Liska  writes:

> Am 07.12.18 um 10:55 schrieb mansouraoun:
>> i wrote the code in raw and it's somehow not displayed in my message
>> Here it is
>>
>> dynx =
>> #(define-music-function
>>   (parser location X-offset)
>>   (number?)
>> #{
>>   \once\override DynamicText.X-offset = #X-offset
>> #})
>>
>> Mansour
>>
> As David said: if you use the development version (currently 2.19.82)
> you can simplify this by skipping "parser location":
>
>   ...
>   #(define-music-function (X-offset)(number?)
>   ...

Actually, if you switch to the development version, you can simplify
this by writing

dynx = \once\override DynamicText.X-offset = \etc

but the \etc construct works only for a limited number of uses and does
nothing different than generating a music function of that kind.  Also
when writing the music function manually, you can use a more specific
predicate and have the arguments checked directly for the right type and
possibly coerced: for example, -3 without further qualification is a
number, but when you use a ly:event? predicate for a music function, it
will be a fingering.

-- 
David Kastrup

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Re: Music-function "arguments" - help

[mansouraoun]

Just switched to 2.19.82 and it works like a charm. 

Thanks

Mansour



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Re: Music-function "arguments" - help

[Urs Liska]

Am 07.12.18 um 11:07 schrieb Urs Liska:


Am 07.12.18 um 10:55 schrieb mansouraoun:

i wrote the code in raw and it's somehow not displayed in my message
Here it is

dynx =
#(define-music-function
  (parser location X-offset)
  (number?)
    #{
  \once\override DynamicText.X-offset = #X-offset
    #})

Mansour

As David said: if you use the development version (currently 2.19.82) 
you can simplify this by skipping "parser location":


  ...
  #(define-music-function (X-offset)(number?)
  ...



And while we're at it:

As David also pointed out, the *naming* of such variables is arbitrary, 
it's just their order/position. "parser" and "location" are arguments 
that the LilyPond parser (in 2.18) *implicitly* passes to a music 
function because *sometimes* a music function has the need to access 
either the current LilyPond parser or the "location" (the place in the 
input file from where the function was called). But since the vast 
majority of functions does *not* need them it is needlessly verbose 
having to write them for each and every music function. So two 
procedures, *parser* and *location* were at some point added to LilyPond 
that can be called from within a music function, if it should actually 
need one of these values (to *invoke* a procedure it has to be enclosed 
in parentheses like


  (display (*location*))

For the function you are currently interested in this is of absolutely 
no interest, but I thought to point it out since you were irritated by 
the function arguments in the first place, so it may be interesting to know.


Best
Urs



Urs


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Re: Music-function "arguments" - help

[Urs Liska]

Am 07.12.18 um 10:55 schrieb mansouraoun:

i wrote the code in raw and it's somehow not displayed in my message
Here it is

dynx =
#(define-music-function
  (parser location X-offset)
  (number?)
#{
  \once\override DynamicText.X-offset = #X-offset
#})

Mansour

As David said: if you use the development version (currently 2.19.82) 
you can simplify this by skipping "parser location":


  ...
  #(define-music-function (X-offset)(number?)
  ...

Urs


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Re: Music-function "arguments" - help

[mansouraoun]

i wrote the code in raw and it's somehow not displayed in my message
Here it is

dynx =
#(define-music-function
 (parser location X-offset)
 (number?)
   #{
 \once\override DynamicText.X-offset = #X-offset
   #})

Mansour



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Re: Music-function "arguments" - help

[mansouraoun]

David exactly. Just the small information of "arguments' names are
user-defined", (which might be a self-evidence for people with programming
background/experience) would have saved me 3 hours yesterday. But it's fine,
the important is that I understand now. 

Andrew thanks for replying. I ended up with this simple code working
correctly:



And Urs thanks for the feedback. The book will be of a great help for me at
this stage. 

Mansour



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