Re: percent repeats (bug?)

[Christopher Heckman]

In a post/email sent out several months ago, Randy brought up some
issues about percent repeats over more than two measures. He cited two
issues, related to where the percent sign is placed and what it looks
like.

I would like to add a third: line breaks aren't allowed in the middle
of a \repeat percent. I discovered this when trying to set up a 4-bar
repetition of a bass riff. A smaller example is:

\score {<<
\new TabStaff { \repeat percent 5 { \repeat unfold 16 { c4 } } }
\lyrics { \repeat unfold 20 "a very long bit of lyrics indeed!"1 }
>> }

(Incidentally, I have tried to put a line break in the appropriate
place, using the LSR and the manuals but gotten nowhere. A fix would
be nice to have.)

--- Christopher Carl Heckman

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Re: Jazz Chord Symbols (as new font - NOT notation font)

[Aaron Hill]

On 2019-07-03 4:45 pm, Aaron Hill wrote:

NOTE: Similar things will be adjusted to support the slash separator
as well, so that you could get a single string like "C#m/E" so your
font's logic could handle this.


I typed that poorly.  Trying again:

NOTE: Similar things will need to be adjusted to support the slash 
separator as well, so that you could get a single string like "C#m/E" 
for your font's logic to handle.



-- Aaron Hill

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Re: Jazz Chord Symbols (as new font - NOT notation font)

[Aaron Hill]

On 2019-07-03 3:12 pm, Marco Baumgartner wrote:
You're saying, that once I have my font finished, I can use it as 
\markup

OR as ChordName?


Technically, you are always generating a ChordName grob if you are using 
a ChordNames context, but you can easily override the text property of 
any individual grob to be whatever you want it to be should the value 
that LilyPond generates not be suitable.  It is a little verbose, 
though:



\version "2.19.82"

\new ChordNames \chordmode {
  c4
  \once \override ChordName.text = \markup \circle "C" c4
  c4
}


If you do this a lot, then a helper function would be good:


\version "2.19.82"

chordText = #(define-music-function (text) (markup?)
  #{ \once \override ChordName.text = $text #})

\new ChordNames \chordmode {
  c4
  \chordText \markup \box "C" c4
  c4
}



But wouldn't ChordName mess with my font then?
Like forcing its own spacing and such?


It might depending on how the resulting markup is generated.  Consider a 
chord like C# minor.  By default, LilyPond would generate something akin 
to:


\markup { "C" \smaller \raise #0.6 \sharp "m" }

Only the "C" and "m" would be using the text font whereas the sharp will 
come from the notation font.


It is possible to change how ChordNames are built so that you can 
customize elements like alterations.  See LSR snippet 750 [1].


[1]: http://lsr.di.unimi.it/LSR/Item?id=750

With some modifications to the aforementioned snippet, you could 
potentially end up with an effective markup like this:


\markup { "C#" "m" }

With the "C" and "#" in one string, ligatures and kerning should work 
(assuming you have them for alterations and note names).  Since the "m" 
will typically get appended as its own string, it would be unaffected by 
ligatures and/or kerning.  With more modification to the chord naming 
procedures, you likely could get output similar to:


\markup { "C#m" }

NOTE: Similar things will be adjusted to support the slash separator as 
well, so that you could get a single string like "C#m/E" so your font's 
logic could handle this.


The question is whether it is worth changing any of the existing 
plumbing or if using custom text overrides is easier.



-- Aaron Hill

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Re: Chord names starting right after the anacrusis

[Aaron Hill]

On 2019-07-03 4:03 pm, Vicente Sanches wrote:

Hi everyone,

I want to write a song in which the melody begins in upbeat (anacrusis) 
and
the chords begins on the next bar. I have tried a lot but i can't make 
the

chord names appear after the anacrustic bar.


It often helps to provide an example of what you have tried, so we can 
best advise.


You should only need to insert a suitable skip:


\version "2.19.82"
<< \new ChordNames \chordmode { s4 | c1 }
   \new Staff { \partial 4 g'8 e' | c'1 \bar "|." } >>



-- Aaron Hill

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Chord names starting right after the anacrusis

[Vicente Sanches]

Hi everyone,

I want to write a song in which the melody begins in upbeat (anacrusis) and
the chords begins on the next bar. I have tried a lot but i can't make the
chord names appear after the anacrustic bar.

Can you help me?

P.s. Sorry for my english.

Regards,
Vicente Sanches
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Re: Jazz Chord Symbols (as new font - NOT notation font)

[Marco Baumgartner]

Thanks.

I just figured out how to use my own otf font.
You're saying, that once I have my font finished, I can use it as \markup
OR as ChordName? But wouldn't ChordName mess with my font then?
Like forcing its own spacing and such?

Or lies that within the used font in ChordName? So, if I use my own font -
that's just that? That would be awesome.

***
www.marcobaumgartner.com


On Wed, Jul 3, 2019 at 11:54 PM Aaron Hill  wrote:

> On 2019-07-03 10:40 am, Marco Baumgartner wrote:
> > One thought though: As far as I understand it: displaying chords within
> > Lilypond is not done with/by a "normal" font but rather a special
> > chord-mechanism. I fear, that this mechanism (as far I've seen) does a
> > good
> > job, but can also be seen as a limitation. How wrong would it be to
> > create
> > a normal font (with tons of ligatures) which I could use as
> > info/comments/expression - NOT in Chord-mode to display chords? I feel
> > like
> > that would be the only way that leads to perfect chord symbols. Or am I
> > completely out? :-)
>
> A ChordName is nothing more than markup at the end of the day.  Since
> the default stencil is ly:text-interface::print, anything you can do in
> \markup you can do in a ChordName.  That gives you nearly all the
> freedom you would ever need, so there should be nothing to worry.
>
>
> -- Aaron Hill
>
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Re: Jazz Chord Symbols (as new font - NOT notation font)

[Marco Baumgartner]

I can't make your chord exceptions work... Is it because I'm running a
2.18.2 version?
When I look at your code I see a lot of "shifting things around". Is that
what you do? You take
the given symbols (in chord-mode) and shift/replace/zoom them around until
they look right for you?
That's not what I had in mind, exactly - for I'm not happy with the
fonts/symbols themselves.
I assume it comes close though, judging by the amount of your changes :-)

Good news:
I just figured out how to use standard otf font as markup-font. I didn't
put my font in
the right folder the first time around. But now I did and it works. In my
case it's in:

lilypond/usr/share/lilypond/current/fonts/otf/

and: voilà! Simple as that. You probably all knew about this already...
That's pretty much what I wanted. Now I can build my own chord-symbol-font
from scratch.

***
www.marcobaumgartner.com


On Wed, Jul 3, 2019 at 7:40 PM Marco Baumgartner 
wrote:

> Thank you, Elaine.
> I'm on the road, but I'll gladly check it out later!
>
> One thought though: As far as I understand it: displaying chords within
> Lilypond is not done with/by a "normal" font but rather a special
> chord-mechanism. I fear, that this mechanism (as far I've seen) does a good
> job, but can also be seen as a limitation. How wrong would it be to create
> a normal font (with tons of ligatures) which I could use as
> info/comments/expression - NOT in Chord-mode to display chords? I feel like
> that would be the only way that leads to perfect chord symbols. Or am I
> completely out? :-)
>
> On Wed, Jul 3, 2019, 19:26 Flaming Hakama by Elaine <
> ela...@flaminghakama.com> wrote:
>
>> - Forwarded message --
>>> From: Marco Baumgartner 
>>> To: lilypond-user@gnu.org
>>> Date: Wed, 3 Jul 2019 14:27:27 +0200
>>> Subject: Jazz Chord Symbols (as new font - NOT notation font)
>>> Hi,
>>>
>>> I wonder how I had to build a "normal" font (otf, ttf, whatever) to work
>>> as chord-symbols-font only.
>>> Spacing and style is very important to make chord symbols readable. I
>>> haven't seen one yet for lilypond.
>>> Goal is to have a font rendering chord symbols like in the real books
>>> (handwritten or not), thus: including tons of ligatures and special
>>> thingies per symbol/cluster of symbols.
>>>
>>> If Ab7sus4(b9) isn't typeset "right", you simply can't read it. You
>>> don't buy it. You don't even want to play it... :-) That's a little harsh,
>>> I know. But hence my question. I'm happy to spend some time on a
>>> Jazz-chord-font - but I have no clue on how to make it, so it can be used
>>> by lilypond. Could also be as "comments" or "music expression", if "chords"
>>> doesn't work.
>>>
>>> The lilyjazz-font doesn't come with this kind of chord-symbol-font.
>>>
>>> So, is it possible to build one? How do I set up the font? I work with
>>> fontforge. I'm not a font-specialist, but I had built and drawn fonts from
>>> scratch. Just need someone to point me into the right direction.
>>>
>>> I need to know:
>>>
>>> - is it possible and how? (how to "embed"/use the font in lilypond)
>>> - what font-format
>>> - what encoding (unicode doesn't allow ligatures as far as I know. So
>>> latin1?)
>>>
>>> Thanks a lot for some hints and tips!
>>>
>>> Have a good time,
>>> Marco
>>>
>>> ***
>>> www.marcobaumgartner.com
>>>
>>>
>>>
>>> -- Forwarded message --
>>> From: Kieren MacMillan 
>>> To: Marco Baumgartner 
>>> Cc: Lilypond-User Mailing List 
>>> Bcc:
>>> Date: Wed, 3 Jul 2019 09:05:18 -0400
>>> Subject: Re: Jazz Chord Symbols (as new font - NOT notation font)
>>> Hi Marco,
>>>
>>> > Spacing and style is very important to make chord symbols readable. I
>>> haven't seen one yet for lilypond.
>>>
>>> How does <
>>> http://leighverlag.blogspot.com/2015/12/mimicking-real-book-look.html>
>>> not do what you want?
>>>
>>> Thanks,
>>> Kieren.
>>> 
>>>
>>> Kieren MacMillan, composer
>>> ‣ website: www.kierenmacmillan.info
>>> ‣ email: i...@kierenmacmillan.info
>>>
>>>
>>>
>>
>> To be fair, Lee's post does not delve into manipulating the chord symbol
>> layout.  It focuses on the quirks of the real book style, including an
>> In-staff title bar and Only one clef and time signature.  (Which are both
>> not what the OP asked about, and are arguably things that should be
>> abandoned practices of a previous century.)
>>
>> Lee does show how to get a "handwritten" font for chords:
>>
>> \paper {
>>   #(define fonts
>>  (set-global-fonts
>>   #:music "lilyjazz"
>>   #:roman "Pea Missy with a Marker"
>>   #:sans "Pea Missy with a Marker"
>>   #:factor (/ staff-height pt 20)))
>> }
>>
>> But in order to get things liked stacked alterations, or the "proper"
>> vertical placement and relative sizing of symbols, this is not addressed.
>> The example in that post ("All of Me") only uses basic chords symbols that
>> don't really need tweaking, so it is not obvious what the OP is taking
>> about from looking at that exampl

Re: Jazz Chord Symbols (as new font - NOT notation font)

[Aaron Hill]

On 2019-07-03 10:40 am, Marco Baumgartner wrote:

One thought though: As far as I understand it: displaying chords within
Lilypond is not done with/by a "normal" font but rather a special
chord-mechanism. I fear, that this mechanism (as far I've seen) does a 
good
job, but can also be seen as a limitation. How wrong would it be to 
create

a normal font (with tons of ligatures) which I could use as
info/comments/expression - NOT in Chord-mode to display chords? I feel 
like

that would be the only way that leads to perfect chord symbols. Or am I
completely out? :-)


A ChordName is nothing more than markup at the end of the day.  Since 
the default stencil is ly:text-interface::print, anything you can do in 
\markup you can do in a ChordName.  That gives you nearly all the 
freedom you would ever need, so there should be nothing to worry.



-- Aaron Hill

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Re: Aesthetics question -- how would you typeset this?

[David Kastrup]

Evan Driscoll  writes:

> The difference between  << {...} // {...} >> and chords I get -- but what
> about << {...} {...} >> *without* the //, for example in the first three
> lines of my snippet? Those seem to work the same as collating the
> corresponding notes in chords.

They are pretty much equivalent except when using articulations on
non-chord notes that have an event listener (like the Fingering_engraver
for fingerings).  Those are sent to the event listener when using
simultaneous music but are engraved using the New_fingering_engraver
when they are written in-chord.  If there is no event listener (like
usually for string numbers), they are left to deal with for the
New_fingering_engraver either way and there is no difference.

So there is a difference between the look of

<< c4-1 e-3 >>
and
4

but not between

<< c4\1 e\3 >>
and
4

Unless, of course, you add/remove engravers.

-- 
David Kastrup

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Re: Jazz Chord Symbols (as new font - NOT notation font)

[Marco Baumgartner]

Thank you, Elaine.
I'm on the road, but I'll gladly check it out later!

One thought though: As far as I understand it: displaying chords within
Lilypond is not done with/by a "normal" font but rather a special
chord-mechanism. I fear, that this mechanism (as far I've seen) does a good
job, but can also be seen as a limitation. How wrong would it be to create
a normal font (with tons of ligatures) which I could use as
info/comments/expression - NOT in Chord-mode to display chords? I feel like
that would be the only way that leads to perfect chord symbols. Or am I
completely out? :-)

On Wed, Jul 3, 2019, 19:26 Flaming Hakama by Elaine <
ela...@flaminghakama.com> wrote:

> - Forwarded message --
>> From: Marco Baumgartner 
>> To: lilypond-user@gnu.org
>> Date: Wed, 3 Jul 2019 14:27:27 +0200
>> Subject: Jazz Chord Symbols (as new font - NOT notation font)
>> Hi,
>>
>> I wonder how I had to build a "normal" font (otf, ttf, whatever) to work
>> as chord-symbols-font only.
>> Spacing and style is very important to make chord symbols readable. I
>> haven't seen one yet for lilypond.
>> Goal is to have a font rendering chord symbols like in the real books
>> (handwritten or not), thus: including tons of ligatures and special
>> thingies per symbol/cluster of symbols.
>>
>> If Ab7sus4(b9) isn't typeset "right", you simply can't read it. You don't
>> buy it. You don't even want to play it... :-) That's a little harsh, I
>> know. But hence my question. I'm happy to spend some time on a
>> Jazz-chord-font - but I have no clue on how to make it, so it can be used
>> by lilypond. Could also be as "comments" or "music expression", if "chords"
>> doesn't work.
>>
>> The lilyjazz-font doesn't come with this kind of chord-symbol-font.
>>
>> So, is it possible to build one? How do I set up the font? I work with
>> fontforge. I'm not a font-specialist, but I had built and drawn fonts from
>> scratch. Just need someone to point me into the right direction.
>>
>> I need to know:
>>
>> - is it possible and how? (how to "embed"/use the font in lilypond)
>> - what font-format
>> - what encoding (unicode doesn't allow ligatures as far as I know. So
>> latin1?)
>>
>> Thanks a lot for some hints and tips!
>>
>> Have a good time,
>> Marco
>>
>> ***
>> www.marcobaumgartner.com
>>
>>
>>
>> -- Forwarded message --
>> From: Kieren MacMillan 
>> To: Marco Baumgartner 
>> Cc: Lilypond-User Mailing List 
>> Bcc:
>> Date: Wed, 3 Jul 2019 09:05:18 -0400
>> Subject: Re: Jazz Chord Symbols (as new font - NOT notation font)
>> Hi Marco,
>>
>> > Spacing and style is very important to make chord symbols readable. I
>> haven't seen one yet for lilypond.
>>
>> How does <
>> http://leighverlag.blogspot.com/2015/12/mimicking-real-book-look.html>
>> not do what you want?
>>
>> Thanks,
>> Kieren.
>> 
>>
>> Kieren MacMillan, composer
>> ‣ website: www.kierenmacmillan.info
>> ‣ email: i...@kierenmacmillan.info
>>
>>
>>
>
> To be fair, Lee's post does not delve into manipulating the chord symbol
> layout.  It focuses on the quirks of the real book style, including an
> In-staff title bar and Only one clef and time signature.  (Which are both
> not what the OP asked about, and are arguably things that should be
> abandoned practices of a previous century.)
>
> Lee does show how to get a "handwritten" font for chords:
>
> \paper {
>   #(define fonts
>  (set-global-fonts
>   #:music "lilyjazz"
>   #:roman "Pea Missy with a Marker"
>   #:sans "Pea Missy with a Marker"
>   #:factor (/ staff-height pt 20)))
> }
>
> But in order to get things liked stacked alterations, or the "proper"
> vertical placement and relative sizing of symbols, this is not addressed.
> The example in that post ("All of Me") only uses basic chords symbols that
> don't really need tweaking, so it is not obvious what the OP is taking
> about from looking at that example.
>
>
> There are references in the example code to files that may be doing
> something more:
>
> \include "jazzchords.ily"
> \include "lilyjazz.ily"
>
> But since there is no use of chordNameExceptions in the example, it is
> unlikely that these files address the typography of the chord symbols.
>
>
> The reality is that any kind of typography related to chord symbols
> requires a complete customization of all or most of the chord symbols you
> use.
>
> I'm happy to share what I use.  This style employs the graphical symbol
> approach: triangle for major, dash for minor, plus for augmented, circle
> for diminished and null symbol for half diminished.  If you use something
> else, like M/m/aug/dim/m7b5, you'd have to construct your own, but
> hopefully this pattern will be helpful as a basis.  It contains definitions
> for every chord I've had to notate, but is by no means complete.  There are
> a few exceptions to "standard" chord symbol notation, in particular for sus
> chords, (e.g. Csus7 instead of C7sus4).
>
>
> To use this, first save th

RE: Aesthetics question -- how would you typeset this?

[Mark Stephen Mrotek]

Evan,

 

Never used <<{  } {  }>>.

Tried to locate it in the manual – no success.

Your question must be answered by someone with more knowledge of the code than 
I.

 

Mark

 

From: Evan Driscoll [mailto:eva...@gmail.com] 
Sent: Wednesday, July 03, 2019 10:01 AM
To: Mark Stephen Mrotek 
Cc: Lilypond-User Mailing List 
Subject: Re: Aesthetics question -- how would you typeset this?

 

The difference between  << {...} // {...} >> and chords I get -- but what about 
<< {...} {...} >> *without* the //, for example in the first three lines of my 
snippet? Those seem to work the same as collating the corresponding notes in 
chords.

 

Evan

 

 

On Wed, Jul 3, 2019 at 11:48 AM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

Evan,

 

As to your “bonus” question, <<{….}//{….}>> creates two separate voices, as in 
polyphony,

While <..> creates a chord.

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark 
 =ca.rr@gnu.org 
 ] On Behalf Of Evan Driscoll
Sent: Tuesday, July 02, 2019 8:54 PM
To: Lilypond-User Mailing List mailto:lilypond-user@gnu.org> >
Subject: Aesthetics question -- how would you typeset this?

 

I've got a couple measures that I'm struggling to even figure out what I want 
the result from Lilypond to be. I've pasted the snippet below. As picky 
connoisseurs of good notation, I'm wondering what other people would do or like 
to see. :-) I'm leaning toward the second option but am uncertain.

 

As a bonus question on Lilypond itself -- what are the differences between

  << {  g bf g a ... } { g, g g g } >>

and 

 

in this context? Aside from the octave changes working relative to different 
notes, is there any difference? When should I prefer one to another?

 

Thanks again,

Evan

 

 

\language "english"

\relative c'' {
  \key g \minor
  \time 3/4
  <<
{ s4^"The default, but melody 'lost' in the other visual noise" }
{ r4 g8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
  >>
  \break
  \stemDown
  <<
{ s4^"I like this more but is forcing the stems departing too much from 
standard practice?" }
{ r4 g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
  >>
  \break
  \stemNeutral
  \clef "tenor"
  <<
{ s4^"This also works well but this is an area already with tons of clef 
changes and this adds two more"}
{ r4 g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
  >>
  \break
  \clef "treble"
  r4^"I don't like this but for completeness..."
  <<
{ g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 }
\\
{ g,8 g g g | g4  g8 g  g g  | g[ g] g g  g g | g4 }
  >> r2
}

 

 

 

 

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Re: Jazz Chord Symbols (as new font - NOT notation font)

[Flaming Hakama by Elaine]

>
> - Forwarded message --
> From: Marco Baumgartner 
> To: lilypond-user@gnu.org
> Date: Wed, 3 Jul 2019 14:27:27 +0200
> Subject: Jazz Chord Symbols (as new font - NOT notation font)
> Hi,
>
> I wonder how I had to build a "normal" font (otf, ttf, whatever) to work
> as chord-symbols-font only.
> Spacing and style is very important to make chord symbols readable. I
> haven't seen one yet for lilypond.
> Goal is to have a font rendering chord symbols like in the real books
> (handwritten or not), thus: including tons of ligatures and special
> thingies per symbol/cluster of symbols.
>
> If Ab7sus4(b9) isn't typeset "right", you simply can't read it. You don't
> buy it. You don't even want to play it... :-) That's a little harsh, I
> know. But hence my question. I'm happy to spend some time on a
> Jazz-chord-font - but I have no clue on how to make it, so it can be used
> by lilypond. Could also be as "comments" or "music expression", if "chords"
> doesn't work.
>
> The lilyjazz-font doesn't come with this kind of chord-symbol-font.
>
> So, is it possible to build one? How do I set up the font? I work with
> fontforge. I'm not a font-specialist, but I had built and drawn fonts from
> scratch. Just need someone to point me into the right direction.
>
> I need to know:
>
> - is it possible and how? (how to "embed"/use the font in lilypond)
> - what font-format
> - what encoding (unicode doesn't allow ligatures as far as I know. So
> latin1?)
>
> Thanks a lot for some hints and tips!
>
> Have a good time,
> Marco
>
> ***
> www.marcobaumgartner.com
>
>
>
> -- Forwarded message --
> From: Kieren MacMillan 
> To: Marco Baumgartner 
> Cc: Lilypond-User Mailing List 
> Bcc:
> Date: Wed, 3 Jul 2019 09:05:18 -0400
> Subject: Re: Jazz Chord Symbols (as new font - NOT notation font)
> Hi Marco,
>
> > Spacing and style is very important to make chord symbols readable. I
> haven't seen one yet for lilypond.
>
> How does <
> http://leighverlag.blogspot.com/2015/12/mimicking-real-book-look.html>
> not do what you want?
>
> Thanks,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
>

To be fair, Lee's post does not delve into manipulating the chord symbol
layout.  It focuses on the quirks of the real book style, including an
In-staff title bar and Only one clef and time signature.  (Which are both
not what the OP asked about, and are arguably things that should be
abandoned practices of a previous century.)

Lee does show how to get a "handwritten" font for chords:

\paper {
  #(define fonts
 (set-global-fonts
  #:music "lilyjazz"
  #:roman "Pea Missy with a Marker"
  #:sans "Pea Missy with a Marker"
  #:factor (/ staff-height pt 20)))
}

But in order to get things liked stacked alterations, or the "proper"
vertical placement and relative sizing of symbols, this is not addressed.
The example in that post ("All of Me") only uses basic chords symbols that
don't really need tweaking, so it is not obvious what the OP is taking
about from looking at that example.


There are references in the example code to files that may be doing
something more:

\include "jazzchords.ily"
\include "lilyjazz.ily"

But since there is no use of chordNameExceptions in the example, it is
unlikely that these files address the typography of the chord symbols.


The reality is that any kind of typography related to chord symbols
requires a complete customization of all or most of the chord symbols you
use.

I'm happy to share what I use.  This style employs the graphical symbol
approach: triangle for major, dash for minor, plus for augmented, circle
for diminished and null symbol for half diminished.  If you use something
else, like M/m/aug/dim/m7b5, you'd have to construct your own, but
hopefully this pattern will be helpful as a basis.  It contains definitions
for every chord I've had to notate, but is by no means complete.  There are
a few exceptions to "standard" chord symbol notation, in particular for sus
chords, (e.g. Csus7 instead of C7sus4).


To use this, first save the chord definitions below in a file.
Then include that file from your ly file.
Then when creating chords, use these chord exceptions:

myChords = \chordmode {
\set chordNameExceptions = #flamingChordExceptions
e1:m
% etc.
}


Also, I use the following syntax for specifying the font used for chords
symbols;  it is the second font in this list.   I don't use a "handwritten"
font for chord symbols, my preference happens to be "Highlander ITC TT",
but you would put whatever font name you want in that position.

\paper {
  #(define fonts
(make-pango-font-tree "Marker Felt"
  "Highlander ITC TT"
  "LilyJAZZText"
   (/ myStaffSize 20)))
}


Here is the code to save in a .ily file:

\version "2.19.81"
\include "english.ly"

flamingChordNames = 

Re: Aesthetics question -- how would you typeset this?

[Evan Driscoll]

The difference between  << {...} // {...} >> and chords I get -- but what
about << {...} {...} >> *without* the //, for example in the first three
lines of my snippet? Those seem to work the same as collating the
corresponding notes in chords.

Evan


On Wed, Jul 3, 2019 at 11:48 AM Mark Stephen Mrotek 
wrote:

> Evan,
>
>
>
> As to your “bonus” question, <<{….}//{….}>> creates two separate voices,
> as in polyphony,
>
> While <..> creates a chord.
>
>
>
> Mark
>
>
>
> *From:* lilypond-user [mailto:lilypond-user-bounces+carsonmark=
> ca.rr@gnu.org] *On Behalf Of *Evan Driscoll
> *Sent:* Tuesday, July 02, 2019 8:54 PM
> *To:* Lilypond-User Mailing List 
> *Subject:* Aesthetics question -- how would you typeset this?
>
>
>
> I've got a couple measures that I'm struggling to even figure out what I
> want the result from Lilypond to be. I've pasted the snippet below. As
> picky connoisseurs of good notation, I'm wondering what other people would
> do or like to see. :-) I'm leaning toward the second option but am
> uncertain.
>
>
>
> As a bonus question on Lilypond itself -- what are the differences between
>
>   << {  g bf g a ... } { g, g g g } >>
>
> and
>
>  
>
> in this context? Aside from the octave changes working relative to
> different notes, is there any difference? When should I prefer one to
> another?
>
>
>
> Thanks again,
>
> Evan
>
>
>
>
>
> \language "english"
>
> \relative c'' {
>   \key g \minor
>   \time 3/4
>   <<
> { s4^"The default, but melody 'lost' in the other visual noise" }
> { r4 g8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
> { s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
>   >>
>   \break
>   \stemDown
>   <<
> { s4^"I like this more but is forcing the stems departing too much
> from standard practice?" }
> { r4 g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
> { s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
>   >>
>   \break
>   \stemNeutral
>   \clef "tenor"
>   <<
> { s4^"This also works well but this is an area already with tons of
> clef changes and this adds two more"}
> { r4 g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
> { s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
>   >>
>   \break
>   \clef "treble"
>   r4^"I don't like this but for completeness..."
>   <<
> { g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 }
> \\
> { g,8 g g g | g4  g8 g  g g  | g[ g] g g  g g | g4 }
>   >> r2
> }
>
>
>
>
>
>
>
>
>
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RE: Aesthetics question -- how would you typeset this?

[Mark Stephen Mrotek]

Evan,

 

As to your “bonus” question, <<{….}//{….}>> creates two separate voices, as in 
polyphony,

While <..> creates a chord.

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Evan Driscoll
Sent: Tuesday, July 02, 2019 8:54 PM
To: Lilypond-User Mailing List 
Subject: Aesthetics question -- how would you typeset this?

 

I've got a couple measures that I'm struggling to even figure out what I want 
the result from Lilypond to be. I've pasted the snippet below. As picky 
connoisseurs of good notation, I'm wondering what other people would do or like 
to see. :-) I'm leaning toward the second option but am uncertain.

 

As a bonus question on Lilypond itself -- what are the differences between

  << {  g bf g a ... } { g, g g g } >>

and 

 

in this context? Aside from the octave changes working relative to different 
notes, is there any difference? When should I prefer one to another?

 

Thanks again,

Evan

 

 

\language "english"

\relative c'' {
  \key g \minor
  \time 3/4
  <<
{ s4^"The default, but melody 'lost' in the other visual noise" }
{ r4 g8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
  >>
  \break
  \stemDown
  <<
{ s4^"I like this more but is forcing the stems departing too much from 
standard practice?" }
{ r4 g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
  >>
  \break
  \stemNeutral
  \clef "tenor"
  <<
{ s4^"This also works well but this is an area already with tons of clef 
changes and this adds two more"}
{ r4 g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4  g8 g  g g  | g g g g  g g | g4 s2 }
  >>
  \break
  \clef "treble"
  r4^"I don't like this but for completeness..."
  <<
{ g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 }
\\
{ g,8 g g g | g4  g8 g  g g  | g[ g] g g  g g | g4 }
  >> r2
}

 

 

 

 

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Re: Jazz Chord Symbols (as new font - NOT notation font)

[Kieren MacMillan]

Hi Marco,

> Spacing and style is very important to make chord symbols readable. I haven't 
> seen one yet for lilypond.

How does 
 not do 
what you want?

Thanks,
Kieren.


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


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Jazz Chord Symbols (as new font - NOT notation font)

[Marco Baumgartner]

Hi,

I wonder how I had to build a "normal" font (otf, ttf, whatever) to work as
chord-symbols-font only.
Spacing and style is very important to make chord symbols readable. I
haven't seen one yet for lilypond.
Goal is to have a font rendering chord symbols like in the real books
(handwritten or not), thus: including tons of ligatures and special
thingies per symbol/cluster of symbols.

If Ab7sus4(b9) isn't typeset "right", you simply can't read it. You don't
buy it. You don't even want to play it... :-) That's a little harsh, I
know. But hence my question. I'm happy to spend some time on a
Jazz-chord-font - but I have no clue on how to make it, so it can be used
by lilypond. Could also be as "comments" or "music expression", if "chords"
doesn't work.

The lilyjazz-font doesn't come with this kind of chord-symbol-font.

So, is it possible to build one? How do I set up the font? I work with
fontforge. I'm not a font-specialist, but I had built and drawn fonts from
scratch. Just need someone to point me into the right direction.

I need to know:

- is it possible and how? (how to "embed"/use the font in lilypond)
- what font-format
- what encoding (unicode doesn't allow ligatures as far as I know. So
latin1?)

Thanks a lot for some hints and tips!

Have a good time,
Marco

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How to set up a Jazz-Chord-Symbol-Font (not notation-font)

[Marco Baumgartner]

Hi,

I wonder how I had to build a "normal" font (otf, ttf, whatever) to work as
chord-symbols-font only.
Spacing and style is very important to make chord symbols readable. I
haven't seen one yet for lilypond.
Goal is to have a font rendering chord symbols like in the real books
(handwritten or not), thus: including tons of ligatures and special
thingies per symbol/cluster of symbols.

If Ab7sus4(b9) isn't typeset "right", you simply can't read it. You don't
buy it. You don't even want to play it... :-) That's a little harsh, I
know. But hence my question. I'm happy to spend some time on a
Jazz-chord-font - but I have no clue on how to make it, so it can be used
by lilypond. Could also be as "comments" or "music expression", if "chords"
doesn't work.

The lilyjazz-font doesn't come with this kind of chord-symbol-font.

So, is it possible to build one? How do I set up the font? I work with
fontforge. I'm not a font-specialist, but I had built and drawn fonts from
scratch. Just need someone to point me into the right direction.

I need to know:

- is it possible and how? (how to "embed"/use the font in lilypond)
- what font-format
- what encoding (unicode doesn't allow ligatures as far as I know. So
latin1?)

Thanks a lot for some hints and tips!

Have a good time,
Marco

***
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