Re: lilypond 2.24.0 looking for files outside local folder

[Alberto Simões]

On Fri, Jul 19, 2024 at 9:32 PM Jean Abou Samra  wrote:

>
>
> Sorry if this was already asked.
>
> I found this strange behavior:
>
>
> * $  ls -l satb.ly *-rw-r--r-- 1 ambs ambs 6018 jul 19
> 20:52 satb.ly
> *$   lilypond satb.ly *
> GNU LilyPond 2.24.0 (running Guile 2.2)
> Processing `/opt/local/share/lilypond/2.24.0/ly/satb.ly'
> Parsing...
>
> Even with something like ./satb.ly, lilypond still looks into its own
> folder :-)
>
>
>
>
> This is an old issue. See
> https://gitlab.com/lilypond/lilypond/-/issues/1509
>

Thanks. For now, I just renamed the system file.
But it took me a while to understand what was going on :-)

Best,
Alberto

lilypond 2.24.0 looking for files outside local folder

[Alberto Simões]

Hello

Sorry if this was already asked.
I found this strange behavior:


* $  ls -l satb.ly *-rw-r--r-- 1 ambs ambs 6018 jul 19
20:52 satb.ly
*$   lilypond satb.ly *
GNU LilyPond 2.24.0 (running Guile 2.2)
Processing `/opt/local/share/lilypond/2.24.0/ly/satb.ly'
Parsing...

Even with something like ./satb.ly, lilypond still looks into its own
folder :-)

Cheers
Alberto

Re: Starting Piano music with acciaccatura on upper voice

[Alberto Simões]

Hi
Thanks.
I tried googling, but it looks like it didn't help much :-)
Thank you

On Sat, Feb 11, 2023 at 11:42 AM David Kastrup  wrote:

> Alberto Simões  writes:
>
> > Hi
> >
> > I am starting a piano music this way:
> >
> > upper = \relative c'' {
> >   \clef treble
> >   \key g \major
> >   \time 4/4
> >
> >   \acciaccatura ais8 b8. 
> > }
> >
> > and the lower voice as
> >
> > lower = \relative c {
> >   \clef bass
> >   \key g \major
> >   \time 4/4
> >   fis8
> > }
> >
> > but the lower staff starts with a treble clef followed by the bass clef
> > with the key signature.
> > This is quite weird
> >
> > What am I doing wrong?
> > Thanks
>
> <
> https://lilypond.org/doc/v2.24/Documentation/notation/special-rhythmic-concerns#index-grace-note_002c-synchronization
> >
>
> --
> David Kastrup
>

Starting Piano music with acciaccatura on upper voice

[Alberto Simões]

Hi

I am starting a piano music this way:

upper = \relative c'' {
  \clef treble
  \key g \major
  \time 4/4

  \acciaccatura ais8 b8. 
}

and the lower voice as

lower = \relative c {
  \clef bass
  \key g \major
  \time 4/4
  fis8
}

but the lower staff starts with a treble clef followed by the bass clef
with the key signature.
This is quite weird

What am I doing wrong?
Thanks

Re: music function playing well with context

[Alberto Simões]

On Wed, Feb 8, 2023 at 7:00 PM Alberto Simões  wrote:

>
>
> On Wed, Feb 8, 2023 at 6:57 PM Alberto Simões 
> wrote:
>
>>
>>
>> On Wed, Feb 8, 2023 at 6:50 PM Jean Abou Samra 
>> wrote:
>>
>>> On 08/02/2023 19:45, Alberto Simões wrote:
>>>
>>> > I just noticed this does not support chords: \myT  f
>>> > While I can do that manually (just a couple of cases) it would be nice
>>> to learn how to handle these cases.
>>> > Would it be possible?
>>>
>>>
>>> Chords are distinguished by having the music class 'event-chord,
>>> and the duration is on the contained notes rather than the
>>> chord itself.
>>>
>>>
>>> \version "2.24.0"
>>>
>>> #(define (set-note-or-chord-duration! note-or-chord duration)
>>>(if (music-is-of-type? note-or-chord 'event-chord)
>>>(for-each (lambda (ev)
>>>(when (music-is-of-type? ev 'rhythmic-event)
>>>  (ly:music-set-property! ev 'duration duration)))
>>>  (ly:music-property note-or-chord 'elements))
>>>(ly:music-set-property! note-or-chord 'duration duration)))
>>>
>>
>> I know why I do not like lisp :-)
>> but while not being able to write it myself, I can understand it!
>> Thank you!
>>
>>
>
> I get a
>   Unbound variable: when
> may it be the lilypond version? running 2.22 here.
> Thanks
>

I could have Googled first.
Replacing 'when' with 'cond' works perfectly!

Thank you

Re: music function playing well with context

[Alberto Simões]

On Wed, Feb 8, 2023 at 6:57 PM Alberto Simões  wrote:

>
>
> On Wed, Feb 8, 2023 at 6:50 PM Jean Abou Samra  wrote:
>
>> On 08/02/2023 19:45, Alberto Simões wrote:
>>
>> > I just noticed this does not support chords: \myT  f
>> > While I can do that manually (just a couple of cases) it would be nice
>> to learn how to handle these cases.
>> > Would it be possible?
>>
>>
>> Chords are distinguished by having the music class 'event-chord,
>> and the duration is on the contained notes rather than the
>> chord itself.
>>
>>
>> \version "2.24.0"
>>
>> #(define (set-note-or-chord-duration! note-or-chord duration)
>>(if (music-is-of-type? note-or-chord 'event-chord)
>>(for-each (lambda (ev)
>>(when (music-is-of-type? ev 'rhythmic-event)
>>  (ly:music-set-property! ev 'duration duration)))
>>  (ly:music-property note-or-chord 'elements))
>>(ly:music-set-property! note-or-chord 'duration duration)))
>>
>
> I know why I do not like lisp :-)
> but while not being able to write it myself, I can understand it!
> Thank you!
>
>

I get a
  Unbound variable: when
may it be the lilypond version? running 2.22 here.
THanks

Re: music function playing well with context

[Alberto Simões]

On Wed, Feb 8, 2023 at 6:50 PM Jean Abou Samra  wrote:

> On 08/02/2023 19:45, Alberto Simões wrote:
>
> > I just noticed this does not support chords: \myT  f
> > While I can do that manually (just a couple of cases) it would be nice
> to learn how to handle these cases.
> > Would it be possible?
>
>
> Chords are distinguished by having the music class 'event-chord,
> and the duration is on the contained notes rather than the
> chord itself.
>
>
> \version "2.24.0"
>
> #(define (set-note-or-chord-duration! note-or-chord duration)
>(if (music-is-of-type? note-or-chord 'event-chord)
>(for-each (lambda (ev)
>(when (music-is-of-type? ev 'rhythmic-event)
>  (ly:music-set-property! ev 'duration duration)))
>  (ly:music-property note-or-chord 'elements))
>(ly:music-set-property! note-or-chord 'duration duration)))
>

I know why I do not like lisp :-)
but while not being able to write it myself, I can understand it!
Thank you!


>
> myT =
> #(define-music-function (pa pb) (ly:music? ly:music?)
>(set-note-or-chord-duration! pa #{ 4 #})
>(set-note-or-chord-duration! pb #{ 8 #})
> #{ \tuplet 3/2 { #pa #pb } #})
>
> {
>   \myT c( gis a4_.)
>   \myT c_. d^^ e4
>   \myT \p f
> }
>
>
>
> Best,
> Jean
>
>

Re: music function playing well with context

[Alberto Simões]

Hi

On Tue, Feb 7, 2023 at 9:07 PM Jean Abou Samra  wrote:

>
> \version "2.24.0"
>
> myT =
> #(define-music-function (pa pb) (ly:music? ly:music?)
>(ly:music-set-property! pa 'duration #{ 4 #})
>(ly:music-set-property! pb 'duration #{ 8 #})
> #{ \tuplet 3/2 { #pa #pb } #})
>
> {
>   \myT c( gis a4_.)
>   \myT c_. d^^ e4
> }
>
>
> You need to receive the argument as ly:music? so as to allow
> articulations on the note. Then, you can override the duration,
> with ly:music-set-property! .
>
>
>
I just noticed this does not support chords: \myT  f
While I can do that manually (just a couple of cases) it would be nice to
learn how to handle these cases.
Would it be possible?

thanks
Alberto

Re: music function playing well with context

[Alberto Simões]

On Tue, Feb 7, 2023 at 9:07 PM Jean Abou Samra  wrote:

> On 07/02/2023 21:57, Alberto Simões wrote:
> > Hello
> >
> > I am transcribing a piece that has a lot of tuplets:
> >
> >\tuplet 3/2 { a4 b8 }
> >
> > The duration of the notes is always this, just the pitch changes.
> > I tried to create a music function with this code
> >
> > myT = #(define-music-function (pa pb) (ly:pitch? ly:pitch?)
> > #{
> > \tuplet 3/2 { $pa 4 $pb 8 }
> > #})
> >
> > it works well, but I can't combine it with the context, for instance,
> adding slurs:
> >
> >   \myT c( gis  a4_.)
> >
> > also, I will need to attach other stuff to the notes:
> >
> >   \myT c_. d^^ e4
> >
> > I understand that having a ly:pitch argument, I can only use... pitch
> > But changing it to ly:music?, I am not being able to control the notes
> duration.
> >
> > This is my first function, so sorry if this is too basic :-)
>
>
>
> This is not a dumb question. Try this:
>
> \version "2.24.0"
>
> myT =
> #(define-music-function (pa pb) (ly:music? ly:music?)
>(ly:music-set-property! pa 'duration #{ 4 #})
>(ly:music-set-property! pb 'duration #{ 8 #})
> #{ \tuplet 3/2 { #pa #pb } #})
>
> {
>   \myT c( gis a4_.)
>   \myT c_. d^^ e4
> }
>
>
> You need to receive the argument as ly:music? so as to allow
> articulations on the note. Then, you can override the duration,
> with ly:music-set-property! .
>

Understood. Thank you .
After looking to the example, it makes sense, but it wasn't easy to get
there :-)
Always great to learn!


> Also, you may already know this, but I want to make sure:
> \tuplet supports a form that allows writing consecutive
> tuplets with a single \tuplet command, like this:
> {
>   \tuplet 3/2 4. { c4( gis8 c4_. d8^^) }
> }
>
>
Didn't knew, but in my case it doesn't help much :-)

Thank you,
Alberto

music function playing well with context

[Alberto Simões]

Hello

I am transcribing a piece that has a lot of tuplets:

   \tuplet 3/2 { a4 b8 }

The duration of the notes is always this, just the pitch changes.
I tried to create a music function with this code

myT = #(define-music-function (pa pb) (ly:pitch? ly:pitch?)
#{
\tuplet 3/2 { $pa 4 $pb 8 }
#})

it works well, but I can't combine it with the context, for instance,
adding slurs:

  \myT c( gis  a4_.)

also, I will need to attach other stuff to the notes:

  \myT c_. d^^ e4

I understand that having a ly:pitch argument, I can only use... pitch
But changing it to ly:music?, I am not being able to control the notes
duration.

This is my first function, so sorry if this is too basic :-)
Kindest regards
Alberto

Re: Unknown expression mark

[Alberto Simões]

On Sat, Jan 14, 2023 at 6:02 PM Alberto Simões 
wrote:

>
>
> On Sat, Jan 14, 2023 at 5:58 PM Alberto Simões 
> wrote:
>
>> Hello, Friends
>>
>> Anyone knows:
>>  - what is this expression mark (in terms of the player)
>>  - how to mimic this in Lilypond?
>>
>>
> As per Wikipedia, it looks like a Marcato --
> https://en.wikipedia.org/wiki/Marcato
>

And in lilypond, _^ is similar enough :-)

Re: Unknown expression mark

[Alberto Simões]

On Sat, Jan 14, 2023 at 5:58 PM Alberto Simões 
wrote:

> Hello, Friends
>
> Anyone knows:
>  - what is this expression mark (in terms of the player)
>  - how to mimic this in Lilypond?
>
>
As per Wikipedia, it looks like a Marcato --
https://en.wikipedia.org/wiki/Marcato

Unknown expression mark

[Alberto Simões]

Hello, Friends

Anyone knows:
 - what is this expression mark (in terms of the player)
 - how to mimic this in Lilypond?

Thank you!
Alberto

Re: Non-relative voice begin

[Alberto Simões]

Thanks Jean, also useful :-)

On Sat, Sep 17, 2022 at 7:17 PM Jean Abou Samra  wrote:

> Le 17/09/2022 à 19:58, Alberto Simões a écrit :
> > Thank you, Martín!
>
>
>
> Martín's solution works fine; however, it might be inconvenient if
> you have a polyphonic passage for just one fragment inside a big
> monodic music expression. In that case, use the dedicated
> \resetRelativeOctave command:
>
> \version "2.22.2"
>
> \relative \new Staff <<
>{ c''''' }
>\new Voice {
>  \voiceTwo
>  \resetRelativeOctave c'
>  c
>}
>  >>
>
> It's mentioned here:
>
>
> https://lilypond.org/doc/v2.22/Documentation/notation/writing-pitches#relative-octave-entry
>
>
> Best,
> Jean
>
>
>

Re: Non-relative voice begin

[Alberto Simões]

Thank you, Martín!


On Sat, Sep 17, 2022 at 6:57 PM Martín Rincón Botero <
martinrinconbot...@gmail.com> wrote:

> Hi Alberto,
>
> use a \relative block for each voice:
>
> << \new Voice \relative {}
>   \new Voice \relative {} >>
>
> Cheers,
> Martín.
>
> www.martinrinconbotero.com
>
>
> On Sep 17, 2022 at 7:52 PM, >
> wrote:
>
> Hello
>
> When using voices
>   << {} \new Voice {} >>
> the second starts relatively to the last note of the first one (because
> the full score is inside a \relative {}
>
> Is there a way to specify exactly the first note pitch for the second
> voice?
>
> Thanks
>
>

Non-relative voice begin

[Alberto Simões]

Hello

When using voices
  << {} \new Voice {} >>
the second starts relatively to the last note of the first one (because the
full score is inside a \relative {}

Is there a way to specify exactly the first note pitch for the second voice?

Thanks

Re: CrossStaff and Dynamics

[Alberto Simões]

Hello

Yeah, it took some time to realize that too, but that was easier than to
understand I had it working and.. deleted the engraver :-)
Cheers

On Sun, Jun 26, 2022 at 4:06 AM Andrew Bernard 
wrote:

> Oh - I just realised you were talking about the engraver!
>
> Andrew
>
>
> Andrew Bernard wrote on 26/06/2022 12:35 PM:
> > No need for shame. I think it depends on the direction of the stem in
> > the upper staff doesn't it? So it's not always the case that you have
> > to put the cross staff indication in the upper staff. I think.
> >
> > Andrew
> >
> > Alberto Simões wrote on 26/06/2022 6:53 AM:
> >> Dear Paul,
> >> I feel ashamed now.
> >> Indeed, I lost it when changing to the new Dynamics.
> >> Thanks for your quick answer.
> >> Its working back ;)
> >>
> >
> >
>
>
>

Re: CrossStaff and Dynamics

[Alberto Simões]

Dear Paul,
I feel ashamed now.
Indeed, I lost it when changing to the new Dynamics.
Thanks for your quick answer.
Its working back ;)

Alberto

On Sat, Jun 25, 2022 at 9:49 PM Paul Hodges  wrote:

> Your snippet doesn't include the Span_stem_engraver, so I guess you lost
> that when adding the Dynamics.  Here is an extracted part of the score of
> that I am just now working on, with /lots/ of cross-staff joins as well as
> central dynamics:
>
> \score {
>   <<
> \new PianoStaff \with {
>   \consists "Span_stem_engraver"
> }
> <<
>   \set PianoStaff.instrumentName = \markup\bold"Piano I"
>   \new Staff = "priRH" { \clef treble \IpriRH }
>   \new Dynamics = "priDy" \IpriDy
>   \new Staff = "priLH" { \clef bass \IpriLH }
> >>
>   >>
> }
>
> Regards,
> Paul
>
>
> * From: * Alberto Simões 
> * To: * 
> * Sent: * 25/06/2022 21:17
> * Subject: * CrossStaff and Dynamics
>
> Hello
>
> I am using CrossStaff and everything worked fine.
> But after following a snippet that suggest adding the dynamics as an
> independent voice of spaces:
>
> \score {
>   \new PianoStaff = "PianoStaff_pf" <<
> \new Staff = "upper" << \upper >>
> \new Dynamics = "dynamics" \dynamics
> \new Staff = "lower" <<  \lower >>
>   >>
> }
>
> the beams are no longer connected.
> Is there any way to overcome this problem?
>
> The idea of using a dynamic "voice" was to get all dynamics middle-aligned
> between them...
>
> Thank you for any hint,
> Alberto
>
>

CrossStaff and Dynamics

[Alberto Simões]

Hello

I am using CrossStaff and everything worked fine.
But after following a snippet that suggest adding the dynamics as an
independent voice of spaces:

\score {
  \new PianoStaff = "PianoStaff_pf" <<
\new Staff = "upper" << \upper >>
\new Dynamics = "dynamics" \dynamics
\new Staff = "lower" <<  \lower >>
  >>
}

the beams are no longer connected.
Is there any way to overcome this problem?

The idea of using a dynamic "voice" was to get all dynamics middle-aligned
between them...

Thank you for any hint,
Alberto

Re: Adding space between staves and Dynamics

[Alberto Simões]

Hi, Simon

It helped a lot. I confess that page is very difficult to understand. At
least for me :-)
Your suggestion worked great, but now I have almost no space between
different line scores (getting the upper voice upper lyrics glues to the
lower voice lower lyrics).

I tried setting
 \override
VerticalAxisGroup.default-staff-staff-spacing.minimum-distance = #17
both in Staff and ChoirStaff contexts without any luck.

Suggestions? :-)
Thanks

On Mon, Jul 25, 2016 at 12:18 AM, Simon Albrecht 
wrote:

> Am 24.07.2016 um 16:37 schrieb Alberto Simões:
>
>> How can I add a little more space between the Dynamics and the lower
>> staff upper lyrics? (see attach).
>>
>
> Override VerticalAxisGroup.nonstaff-nonstaff-spacing in either of the
> contexts, see <
> http://lilypond.org/doc/v2.19/Documentation/notation/flexible-vertical-spacing-within-systems
> >.
>
> HTH, Simon
>
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Adding space between staves and Dynamics

[Alberto Simões]

Hi

How can I add a little more space between the Dynamics and the lower staff
upper lyrics? (see attach).

The group can be resumed as:

  \new ChoirStaff <<
  \new Staff = "staffu" <<
\new Voice = "melA" \upA
\new Voice = "melB" \upB
  >>
\new Lyrics   \with { alignAboveContext = "staffu" } {\lyricsto melA
\text}
\new Lyrics  {\lyricsto melB \text }

\new Dynamics{  ... }

  \new Staff = "staffd" <<
\new Voice = "melC" \lowA
\new Voice = "melD" \lowB
  >>
  \new Lyrics   \with { alignAboveContext = "staffd" }  {\lyricsto melC
\text}
  \new Lyrics {\lyricsto melD \textD }
  >>

Thanks
ambs
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Re: Single slur with two endings (well, kind of) for repeats

[Alberto Simões]

On 08/06/16 22:50, tisimst wrote:

\repeat volta 2 {
  c4 c4 (
}
\alternative {
  { c4 ) r }
  { c2 \repeatTie }
}

Naturally, you can adjust its shape with the \shape command if desired,
but this usually gives a pretty good starting shape.


This look a lot more high level, but I understand sometimes it might 
need some tweaks.

Thanks, will test it later today. Now time to go to $job :-)

Cheers
ambs

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Re: Single slur with two endings (well, kind of) for repeats

[Alberto Simões]

On 08/06/16 21:02, David Wright wrote:

On Wed 08 Jun 2016 at 20:33:51 (+0100), Alberto Simões wrote:

Suppose something like

\repeat volta 2 {
   c4 c4(
}
\alternative {
  {c4) r}
  {c2) }   %%% this
}

the second end slur is not typeset.
is there any elegant way to draw it, or i should try to make an
invisible note somewhere?


The Notation Manual shows how to do this in 5.5.4 Modifying shapes
Modifying ties and slurs
where it comes right at the end, just before 5.5.5. It uses empty
chords <> rather than hidden notes.


Thank you!!

alberto

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Single slur with two endings (well, kind of) for repeats

[Alberto Simões]

Hi

Suppose something like

\repeat volta 2 {
   c4 c4(
}
\alternative {
  {c4) r}
  {c2) }   %%% this
}

the second end slur is not typeset.
is there any elegant way to draw it, or i should try to make an 
invisible note somewhere?


Thanks
Alberto

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Re: LaTeX and markup "fine"

[Alberto Simões]

On 05/06/16 11:32, Alberto Simões wrote:



On 05/06/16 11:30, Alberto Simões wrote:

Hi

I have a standard "\markup{Da Capo al fine}" in a score.

That score is being included in a lilypond-book document.

pdfTeX complains with:


pdfTeX warning: pdflatex (file
/usr/local/texlive/2015/texmf-dist/fonts/type1/public/tex-gyre/qcsri.pfb):

glyph `f_i' undefined


the PDF gets 'Da Capo al  ne"



Found this:

  http://lists.gnu.org/archive/html/lilypond-devel/2015-12/msg00160.html

Still not very useful, but will look deeper.


For other people stumbling on the same problem, my solution was to use 
latex (not pdflatex) and create a dvi. Then, dvipdf creates a perfect 
PDF file.


Best,
Alberto

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Re: LaTeX and markup "fine"

[Alberto Simões]

On 05/06/16 11:30, Alberto Simões wrote:

Hi

I have a standard "\markup{Da Capo al fine}" in a score.

That score is being included in a lilypond-book document.

pdfTeX complains with:


pdfTeX warning: pdflatex (file
/usr/local/texlive/2015/texmf-dist/fonts/type1/public/tex-gyre/qcsri.pfb):
glyph `f_i' undefined


the PDF gets 'Da Capo al  ne"



Found this:

  http://lists.gnu.org/archive/html/lilypond-devel/2015-12/msg00160.html

Still not very useful, but will look deeper.

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LaTeX and markup "fine"

[Alberto Simões]

Hi

I have a standard "\markup{Da Capo al fine}" in a score.

That score is being included in a lilypond-book document.

pdfTeX complains with:


pdfTeX warning: pdflatex (file 
/usr/local/texlive/2015/texmf-dist/fonts/type1/public/tex-gyre/qcsri.pfb): 
glyph `f_i' undefined



the PDF gets 'Da Capo al  ne"

Ideas how to fix this?
Thank

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Re: Removing time signature from end of line

[Alberto Simões]

On 05/06/16 11:19, Klaus Blum wrote:

Hi Alberto,

here's what I would start with:

% -
\version "2.19.25"

\defineBarLine "|-norepeat" #'("|" "" "|")   % End / Start / Middle of line

\relative c'{
  \override Score.TimeSignature.break-visibility = #'#(#f #t #t)  % End /
Middle / Start of line
  \time 3/4
  c8 d e f e d
  c8 d e f e d \break

  \repeat volta 2 {
\time 6/8
\bar "|-norepeat"
c8 d e f e d
c8 d e f e d \break
  }
}
% -

Unfortunately, the two lists use different orders of elements resp. their
meanings...



Thank you.
At the moment using two scores, and setting manually the measure count.
Thanks
Alberto


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Removing time signature from end of line

[Alberto Simões]

Hi

I would like to hide the cautionary time signature change from the end 
of the staff. I found out that


 \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible

works for the key, but I couldn't find the equivalent for the time 
signature.


Also, this change is from a Marcia to a Trio, and I would like to hide, 
at the beginning of the trio, the repeat bar (just like if it was a new 
piece). Is that possible?



My other alternative would be to have two separate \score, but then 
measure counter is reset when starting the Trio, and I do not want that.



Thanks for any ideas/pointers
Alberto

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Re: Page Break in Lilypond-book

[Alberto Simões]

On 04/06/16 20:17, Alberto Simões wrote:



On 26/05/16 10:23, Alberto Simões wrote:



On 16/05/16 19:32, Alberto Simões wrote:



On 16/05/16 18:50, David Wright wrote:

On Sat 14 May 2016 at 15:34:30 (+0100), Alberto Simões wrote:

> It seems that \pageBreak is not honored by Lilypond.
> I found an old post [1] that seems to state that it is needed to
> enclose each portion in a different \book block (?).
>
> Can anybody confirm? Or explain the better way to force page break
> from within a .ly file, to happen in the lilypond-book tex file?

I'm not experienced with lilypond-book, but is it as simple as
using \bookpart to make the page breaks? Or are you trying to
make \pageBreaks within a \score? I think you might need to give
more context, ie an example of the structure of your file with
the \book \bookpart \score commands, and indicating where the
page breaks are that you want to force.


I am trying to break inside a score.
In fact, my "main document" is only:

\score{
\new PianoStaff <<
\new Staff = "up"   \up
\new Dynamics = "dynamics" \dynamics
\new Staff = "down" \down
>>
}





My current solution:

\def\betweenLilyPondSystem[1]{}

\newcommand{\breakAt}[1]{\renewcommand{\betweenLilyPondSystem}[1]{\ifthenelse{##1 
= #1}{\newpage}{\linebreak\vfill}}}



and then, before a score:

\breakAt{1}

at it makes a linebreak after first line.

Problem will be when my music doesn't fit in two pages.
But a thing at a time.

Best


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Re: Page Break in Lilypond-book

[Alberto Simões]

On 26/05/16 10:23, Alberto Simões wrote:



On 16/05/16 19:32, Alberto Simões wrote:



On 16/05/16 18:50, David Wright wrote:

On Sat 14 May 2016 at 15:34:30 (+0100), Alberto Simões wrote:

> It seems that \pageBreak is not honored by Lilypond.
> I found an old post [1] that seems to state that it is needed to
> enclose each portion in a different \book block (?).
>
> Can anybody confirm? Or explain the better way to force page break
> from within a .ly file, to happen in the lilypond-book tex file?

I'm not experienced with lilypond-book, but is it as simple as
using \bookpart to make the page breaks? Or are you trying to
make \pageBreaks within a \score? I think you might need to give
more context, ie an example of the structure of your file with
the \book \bookpart \score commands, and indicating where the
page breaks are that you want to force.


I am trying to break inside a score.
In fact, my "main document" is only:

\score{
\new PianoStaff <<
\new Staff = "up"   \up
\new Dynamics = "dynamics" \dynamics
\new Staff = "down" \down
>>
}





Tried to create two bookparts, but lilypond-book still doesn't change 
pages where I want.


Anybody with expertise on lilypond-book who can give me a hint on how to 
force, from lilypond code, a new page in the lilypond-book output??



Thank you
Alberto



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Re: Page Break in Lilypond-book

[Alberto Simões]

On 16/05/16 19:32, Alberto Simões wrote:



On 16/05/16 18:50, David Wright wrote:

On Sat 14 May 2016 at 15:34:30 (+0100), Alberto Simões wrote:

> It seems that \pageBreak is not honored by Lilypond.
> I found an old post [1] that seems to state that it is needed to
> enclose each portion in a different \book block (?).
>
> Can anybody confirm? Or explain the better way to force page break
> from within a .ly file, to happen in the lilypond-book tex file?

I'm not experienced with lilypond-book, but is it as simple as
using \bookpart to make the page breaks? Or are you trying to
make \pageBreaks within a \score? I think you might need to give
more context, ie an example of the structure of your file with
the \book \bookpart \score commands, and indicating where the
page breaks are that you want to force.


I am trying to break inside a score.
In fact, my "main document" is only:

\score{
\new PianoStaff <<
\new Staff = "up"   \up
\new Dynamics = "dynamics" \dynamics
\new Staff = "down" \down
>>
}



This thread kind of died before I got a good answer.
As far as I could understand, the solution is to create two bookparts 
from the same music?


If I could make lilypond-book generate some kind of markup into the 
generated tex file, i might be able to post-processing with Perl.


Need to do some experiments...
Thanks
alberto

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Re: Page Break in Lilypond-book

[Alberto Simões]

On 16/05/16 18:50, David Wright wrote:

On Sat 14 May 2016 at 15:34:30 (+0100), Alberto Simões wrote:

> It seems that \pageBreak is not honored by Lilypond.
> I found an old post [1] that seems to state that it is needed to
> enclose each portion in a different \book block (?).
>
> Can anybody confirm? Or explain the better way to force page break
> from within a .ly file, to happen in the lilypond-book tex file?

I'm not experienced with lilypond-book, but is it as simple as
using \bookpart to make the page breaks? Or are you trying to
make \pageBreaks within a \score? I think you might need to give
more context, ie an example of the structure of your file with
the \book \bookpart \score commands, and indicating where the
page breaks are that you want to force.


I am trying to break inside a score.
In fact, my "main document" is only:

\score{
\new PianoStaff <<
\new Staff = "up"   \up
\new Dynamics = "dynamics" \dynamics
\new Staff = "down" \down
>>
}

and I am using \break to break lines, inside the \up markup.

I just wanted to say that some of those are page breaks. And those 
breaks need to be "shared" with lilypond-book, as it is it who lays out 
each line image in the sheet.


Thanks
Alberto

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Re: Can not reach the list

[Alberto Simões]

Just wait. I sent one on 14th, and got it delivered today :)

On 15/05/16 22:03, Joram wrote:

Hi,

my mails do not reach lilypond-user. Does that only happen to me or is it a
general problem? I have written 4 mails in the last week an none appeared on
the list. Is there something I can do?

Best,
Joram


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Page Break in Lilypond-book

[Alberto Simões]

Hi

It seems that \pageBreak is not honored by Lilypond.
I found an old post [1] that seems to state that it is needed to enclose 
each portion in a different \book block (?).


Can anybody confirm? Or explain the better way to force page break from 
within a .ly file, to happen in the lilypond-book tex file?


Thank you
Alberto

[1] https://lists.gnu.org/archive/html/lilypond-devel/2005-05/msg00105.html

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Re: 4 hands piano pieces book

[Alberto Simões]

Dear Hwaen,

Thanks for your share.
I will try to look to the different presented approaches and check which 
is more adequate for my needs. But, unfortunately, only in my next hobby 
time slice, next weekend :)


Alberto

On 09/05/16 19:35, Hwaen Ch'uqi wrote:

Greetings Alberto,

I have been wwriting A LOT of four-hand music, and I agree in
principle with most of what I have read in this thread. Even so, I
thought to chime in with my approach. As has been advised, I create
two separate book files, one for Secondo and one for Primo. The top of
each file is headed with the following:

#(define-markup-command (four-hand-page layout props offset) (number?)
  (let* (
(two-hand (chain-assoc-get 'page:page-number-string props))
(four-hand (number->string (+ offset (* 2 (string->number two-hand))
(interpret-markup layout props four-hand)))

Then, in the \paper block, I include the following for the Secondo part:

oddHeaderMarkup = \markup \fill-line {
  \four-hand-page #0
  " "
}
evenHeaderMarkup = ##f

Or, for the Primo part:

oddHeaderMarkup = \markup \fill-line {
  " "
  \four-hand-page #1
}
evenHeaderMarkup = ##f

In this way, each part will begin with the correct page number, and
the numbering will increase by two automatically.

In my experience, I have found that there can be no "master file" used
for determining page breaks, due to the lovely but unpredictable way
that LilyPond lays out pages. So this must still be done by trial and
error. I do, however, use the Secondo file in the end as a "master"
for generating a Table of Contents.

Finally, I also use pdftk to produce the full book, but the process
outlined earlier can be extremely streamlined if you use the "collate"
feature. You do not need to burst the files into separate pages; pdftk
will automatically alternate the pages when combining the two files.

I hope this has been helpful.

Hwaen Ch'uqi


On 5/8/16, David Wright  wrote:

On Sun 08 May 2016 at 19:13:37 (+0200), Jacques Menu Muzhic wrote:

Would dynamics parts dedicated to breaks and pageBreaks, stored in
variables, be useful? They might contain only spacer rests and such
breaks, and be used by Piano I and Piano II parts.

I use this satisfactorily to produce director and musicians parts, with
the same breaks in the first drafts to facilitate cross checking of the LP
input code.


This seems to be the mainstream way of handling breaks and pageBreaks
(though I hadn't thought of specifically using a Dynamics context).


One would still have to place things in the right order in the input file
to build the left and right pages, of course.


I wouldn't try to build the score in display order at all. In fact,
if you want to be able to start a new piece halfway down the page, I
think you'd get into a real mess.

I would typeset the primo and secondo in separate scores, using \books
to write separate PDF files.

I would use breakbefore = ##t to get the titling out of the way on
page 1.

Consequently, primo would have its first music on page 2. All
subsequent page breaks would be written:

\pageBreak % skips to the next page...
\markup { " " }
\pageBreak % ...and that leaves a page blank (except the page number).

so that a blank page is left for secondo, and every odd page is blank.
(Probably put this construction in a variable.)

Secondo would start with an immediate extra:

\pageBreak % skips to the next page...
\markup { " " }
\pageBreak % ...and that leaves a page blank (except the page number).

so that its first music is on page 3. Continue as with primo, so every
even page is blank.

If this looks familiar, it's because this is a rehash of
http://lists.gnu.org/archive/html/lilypond-user/2016-05/msg00069.html

Burst the two PDFs into two directories and delete all the empty pages
(ie every other file). Move the remaining files from either directory
into the other. Concatenate the PDFs exactly as before, except now the
output file is called interleaved-output.pdf instead of
decimated-output.pdf.


[A.N.Other] said:



The initial problem is getting the page breaks in sync.
Once you've achieved that (presumably by manually adding page breaks)
you can easily create two separate pdfs and use an external tool to
create the bound volume.


Write your page breaks into *one* variable. Where you give this variable
to \new Dynamics in the \score structures, prefix *only* secondo with
an extra copy of the three-liner above. This approach guarantees the same
pagebreaks for the two players, but pushes secondo forward by one page.

Cheers,
David.

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Re: 4 hands piano pieces book

[Alberto Simões]

On 08/05/16 18:13, Jacques Menu Muzhic wrote:

Hello,

Would dynamics parts dedicated to breaks and pageBreaks, stored in variables, 
be useful? They might contain only spacer rests and such breaks, and be used by 
Piano I and Piano II parts.

I use this satisfactorily to produce director and musicians parts, with the 
same breaks in the first drafts to facilitate cross checking of the LP input 
code.



Do you have any "small" example I could use for inspiration?
Thanks


One would still have to place things in the right order in the input file to 
build the left and right pages, of course.

JM


Le 8 mai 2016 à 17:16, Urs Liska  a écrit :



Am 8. Mai 2016 16:39:56 MESZ, schrieb "Alberto Simões" 
:



On 08/05/16 15:37, Jean-Charles Malahieude wrote:


Has anyone tried to build it as one markup with three columns (left
pianist, the binding, and right pianist) on an A3-landscape sheet?
The only problem would be the page numbering…


That could always be done later... use pdfjam or the like to crop the
A3
pages in A4 pages, and use latex to add headers/footers to all pages.
It
might work.

But not sure how to create columns in lilypond :-)


I don't think that would help at all. The initial problem is getting the page 
breaks in sync.
Once you've achieved that (presumably by manually adding page breaks) you can 
easily create two separate pdfs and use an external tool to create the bound 
volume.

One thing I just start thinking of: you can use openLilyLib's break package to 
ease your workflow.  This allows you to specify breaks as one single list. Then 
you can apply that break list to both scores. You still have to do the page 
breaking manually but have a clean interface to it.

I can't look into it right now as I'm on the train ...


Best
Urs



Thanks


--
Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet.

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Re: 4 hands piano pieces book

[Alberto Simões]

On 08/05/16 15:37, Jean-Charles Malahieude wrote:


Has anyone tried to build it as one markup with three columns (left
pianist, the binding, and right pianist) on an A3-landscape sheet?
The only problem would be the page numbering…


That could always be done later... use pdfjam or the like to crop the A3 
pages in A4 pages, and use latex to add headers/footers to all pages. It 
might work.


But not sure how to create columns in lilypond :-)

Thanks

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Re: 4 hands piano pieces book

[Alberto Simões]

On 08/05/16 15:27, Urs Liska wrote:

The issue with that kind of score is that one needs two independent
scores with identical page breaks.

AFAICS there's still no alternative to doing that manually, though.


OK, that was what I feared. Thanks for confirming it.

Alberto

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Re: 4 hands piano pieces book

[Alberto Simões]

On 08/05/16 15:09, Andrew Bernard wrote:

Hi Alberto,


On 8 May 2016 at 23:55, Alberto Simões  wrote:

Hi

I imagine this is a recurring question. Well, at least I remember doing a
similar question about ten years ago.

I am asking again because things change, and I expect to be some better
approaches to what I need.


Better than what?


I don't recall exactly what was the approach, but I recall it wasn't 
straightforward.





I want to prepare a small book of small 4 hands piece. This mean that I need
 - the left page to be used for the Primo and the right page for Secondo
 - page breaks in the same measure
 - the ability to have more than one piece per page (for example, one small
piece taking half the page, another bigger, starting at the same page).

What would be your recommendation for this?


What is it that is causing you conceptual difficulty exactly? Can you
elaborate? The question is not clear.


Basically, I have "two musics" that should be interleaved in pages.
I know how to force line breaks, or page breaks, but how can I do a page 
break and tell lilypond or lilybook that next it should render another 
melody, and at the end of the page, get back to the first?


So, I do not have any idea how to do it :-)

Best,
Alberto

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4 hands piano pieces book

[Alberto Simões]

Hi

I imagine this is a recurring question. Well, at least I remember doing 
a similar question about ten years ago.


I am asking again because things change, and I expect to be some better 
approaches to what I need.


I want to prepare a small book of small 4 hands piece. This mean that I need
 - the left page to be used for the Primo and the right page for Secondo
 - page breaks in the same measure
 - the ability to have more than one piece per page (for example, one 
small piece taking half the page, another bigger, starting at the same 
page).


What would be your recommendation for this?

Thank you
Alberto

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Re: Replying to posts

[Alberto Simões]

On 29/04/2016 11:59, Johan Vromans wrote:

>There's some Lilypond questions on the tex StackExchange forum, and you'll
>find some on the StackOverflow too.

I have a very strong preference for one single place where all information
lives. And I'm very happy with this mailing list.

+1 for good old mailing lists.
ambs
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Music Notation/Interpretation question

[Alberto Simões]

Hi

This is not exactly a Lilypond doubt...

but imagine a chord, in a left hand piano piece, with 

Lilypond will eventually put c and g at the left of the note stem, and d 
and a at the right (what it does exactly is not relevant for the question).


The question is:
 is the side of the note relevant when analyzing a music?

Basically, during my music formation, nobody ever told me anything about 
that. But last week, when asking a friend daughter to verify a 
transcription, she said that the notes at the right of the stem should 
be the ones relevant for the chord, and that the side of them is relevant...


Do any of you ever heard anything about that? Or did you read anything?
If so, can you share your knowledge on that?

Thank you
alberto

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Re: Orientation of notes in chords

[Alberto Simões]

On 26/03/16 00:18, Andrew Bernard wrote:

LSR 861


Looks complicated, but OK, is possible.
Thanks :-)

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Orientation of notes in chords

[Alberto Simões]

Hi

If I type a chord with consecutive notes, like   lilypond will 
choose what notes will go to the left or to the right of the beam.


Is there any way to say which I want for each side?
 (mostly curiosity, but it might be useful in some situations)

Best
Alberto

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Re: Multiple slurs on chord

[Alberto Simões]

On 20/03/16 22:22, David Kastrup wrote:

Thomas Morley  writes:


Directly on-topic, we have the `doubleSlurs'-context-property, why not
use it here?
This requires some shaping of them, though.
Thus I wrote a first sketch of a `shapeDoubleSlurs'-function, although
I'm not sure, if there isn't one already - at openlilylib?


Is this really necessary?

c^(_( d) works, and I assume that the normal slur shaping can be applied
to the upper and lower slurs individually here.


THanks, David

2_(^(~ | 8) works pretty good

Or I am just not much exigent with my typesetting :-)

Cheers

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Re: Multiple slurs on chord

[Alberto Simões]

On 20/03/16 17:47, Simon Albrecht wrote:

{
   \clef bass
   \key g \major
   s2 
   4
}
But I don’t recall how much of that is already possible and how much is
merely desired. At any rate I’d consider something like that basically
the right way of coding this example.


It is a heavy syntax, but I understand why, and what it intends to 
represent.


For now, keeping just one slur. At the end of the transcription I'll try 
to see if this is already working.


Thanks
ambs

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Re: Multiple slurs on chord

[Alberto Simões]

On 20/03/16 17:31, Phil Holmes wrote:

Hi

Is it possible to do a multiple slur, one for each note? (see attach)

Thanks
alberto


FWIW, if I were reading that, I'd assume they were ties and not change
the upper two notes.


At first I though the same. But in fact the first chord is dissonant 
with the first voice, and then it gets consonant.


We can discuss if it should have all those slurs. In that I might agree, 
that one is more readable than the three.


But still not sure what I really want in the final document.

Thanks
alberto

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Multiple slurs on chord

[Alberto Simões]

Hi

Is it possible to do a multiple slur, one for each note? (see attach)

Thanks
alberto
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Re: Rhythm details

[Alberto Simões]

Thank you both,
Always learning :)

Best
Alberto

On 16/03/16 14:54, Malte Meyn wrote:



Am 16.03.2016 um 15:49 schrieb Alberto Simões:

Can anybody please let me know how this is called and, if you know,
where in the documentation I can find how to typeset it?


This is a tremolo. It means that the lower and upper note/chord are
played alternately in 32nd notes (or arbitrary small notes, depends on
context, composer, interpret). You can typeset that using the \repeat
command:

http://www.lilypond.org/doc/v2.19/Documentation/notation/short-repeats#tremolo-repeats


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Rhythm details

[Alberto Simões]

hi

I am trying to find how to typeset the rhythm in attach, but given I do 
not know what is its name (neither in Portuguese, English or Italian or 
any other language) it is getting difficult to find how to do it.


Can anybody please let me know how this is called and, if you know, 
where in the documentation I can find how to typeset it?


Thank you
Alberto
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Re: Rhythm details

[Alberto Simões]

On 16/03/16 15:48, David Kastrup wrote:

>>{
>>\time 3/4
>>\repeat tremolo 12 { 32 d'' }
>>\repeat tremolo 12 { 32 d''~ }
>>4
>>}

>
>Thank you. I got some issues to find that '12' thre, but with some
>experiments I got there.

Well, the contained phrase has a length of 1/16, and you want to repeat
it until you get 3/4 (the length indicated by the notehead).
(3/4)/(1/16)=(48/4)=12.


Right! The main problem with the manual examples is they use 8 for a 
whole, 6 for a dotted minimum, and somehow it seemed to me that number 
was the "size" of each note.


thanks for the explanation,
Alberto

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Re: Rhythm details

[Alberto Simões]

On 16/03/16 15:38, David Kastrup wrote:

Alberto Simões  writes:


hi

I am trying to find how to typeset the rhythm in attach, but given I
do not know what is its name (neither in Portuguese, English or
Italian or any other language) it is getting difficult to find how to
do it.

Can anybody please let me know how this is called and, if you know,
where in the documentation I can find how to typeset it?


Others gave the documentation already.  Here is how to typeset it.

{
   \time 3/4
   \repeat tremolo 12 { 32 d'' }
   \repeat tremolo 12 { 32 d''~ }
   4
}


Thank you. I got some issues to find that '12' thre, but with some 
experiments I got there.


Thanks :)
Alberto

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Re: CrossStaff Stems

[Alberto Simões]

On 14/03/16 13:10, Malte Meyn wrote:



Am 14.03.2016 um 11:31 schrieb Alberto Simões:

Is this still up to date?

http://fritz.rmi.de/dokumentation/lilypond/Documentation/user/lilypond/Cross-staff-stems.fr.html



No it isn’t. That’s documentation for LilyPond version 2.10.33. You can
get current versions of the LilyPond documentation (and the program
itself) on lilypond.org. Here is the relevant part of documentation in
version 2.18.2 (current stable):

http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems


Thank you, Malte. I didn't even notice the URL. I must be sleeping.

Thank you!
Alberto

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CrossStaff Stems

[Alberto Simões]

Hi

Is this still up to date?

http://fritz.rmi.de/dokumentation/lilypond/Documentation/user/lilypond/Cross-staff-stems.fr.html

I tried it, but the staves got so distant from each other just to be 
sure the extended stem didn't overlap the upper line...



I can prepare a smaller working example if needed.

Thanks
Alberto
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Quick review request

[Alberto Simões]

Hi

Yeah, more Gounod. Not a very interesting piece, but transcribed it for 
readability, and before sending it to IMSLP, I would love if someone 
could give a quick review on the transcription for errors.


Of course that style corrections are welcome as well. Just note I will 
try to stick as much as I can to the original.


Pastorale, Gounod>
  https://github.com/ambs/music/tree/master/Gounod/Pastorale

Best,
Alberto

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Re: positioning a rest

[Alberto Simões]

Try

On 12/02/16 17:34, Patrick Karl wrote:
 {
  \new Staff <<
  \time 3/4
   << { \oneVoice r4 r \voiceOne g' }
 \new Voice { \voiceTwo s4 c'2 } >>
  >>
 }

HTH
ambs

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Re: Lilypond doesn't respond anymore MacOSX 10.8

[Alberto Simões]

Hi

Not easy to help.

But, do you have disk space available?

On 10/02/16 16:43, Darrémont Jean-Michel wrote:

Hi everybody,

Lilypond was working fine until today where it stopped working with message: " 
Application not responding".
I just have to force quit.

Thanks for any help.

MacOSX 10.8.5
Lilypond 2.18.2-1
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Re: LilyPond score used on PhotoScore site

[Alberto Simões]

On 09/02/16 17:48, Helge Kruse wrote:

Am 09.02.2016 um 18:12 schrieb Alberto Simões:



I was pleasantly surprised to see a Mutopia score (Beethoven's Piano
Trio, Opus 11, Movement 1)
<http://www.mutopiaproject.org/ftp/BeethovenLv/O11/Trio_op11_1/Trio_op11_1-a4.pdf>

"featured" on PhotoScore's product page. Here's the direct link to the
page:


http://www.neuratron.com/photoscore2.htm

and to the image itself:

http://www.neuratron.com/images/PSOpenPDF_v8.png


Curious, as they integrate with Sibelius, that a Sibelius score was not
used. But then, for them, Sibelius is great, but .ly is not
understandable :-)


Did they remove this somewhere? I can't find the relation between the
neuratron site and Mutopia or Lilypond. I also didn't found that the
used a non-Sibilus score.



They do not have any reference!


Can you get me a hint? Where is the Mutopia file featured?


In this screenshot: http://www.neuratron.com/photoscore2.htm
it is being OCR'ed.


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Re: LilyPond score used on PhotoScore site

[Alberto Simões]

On 09/02/16 17:04, Abraham Lee wrote:

I was pleasantly surprised to see a Mutopia score (Beethoven's Piano
Trio, Opus 11, Movement 1)

"featured" on PhotoScore's product page. Here's the direct link to the page:


http://www.neuratron.com/photoscore2.htm

and to the image itself:

http://www.neuratron.com/images/PSOpenPDF_v8.png


Curious, as they integrate with Sibelius, that a Sibelius score was not 
used. But then, for them, Sibelius is great, but .ly is not 
understandable :-)


Cheers
ambs

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Re: More Gounod :-)

[Alberto Simões]

Hello,

Finally trying to review this.

On 12/12/15 06:18, Brian Barker wrote:

o It's a weird style that puts full stops other than at the end of
sentences. You have sensibly excised the full stops after the title and
the composer. It would be sensible also to lose them after "Murmurs of
regret from the troupe", "The procession", and "Return to the House".
(But you do need the full stops after "... broken" and "... refreshments".)


Decided to remove them all. I think that even the two after "broken" and 
"refreshments" can be dropped without big loses.



o There are many accidentals that I would parenthesise, e.g. the
naturals in bar 24 and the flat and natural in bar 26 (and many more) -
but you may want to retain the style of the original.


Yes, I will keep them as they are. I feel the whole score is already too 
crowded with notation, that the parenthesis might make more confusion 
than help.



o The slur from the C-sharp in bar 23 to the D in bar 24 fails to appear
at all in the new system. (The identical one between bars 109 and 110 is
how it should look.)


Fortunately, forcing the music to be in four pages solved the issue 
without I needing to learn how to do it :-)



o Shouldn't the grace note in bar 53 be slurred to its adjacent D, not
to the lower F-sharp? (This occurs also in bars 57, 69, 85, 89, and 90.)


I think I fixed them all.


o The dynamics surely do not follow standard practice? The forte in bar
54 continues to apply in bar 55 without being repeated. Is this meant to
represent sforzando? This also applies to the forte in bar 87, the
pianissimos in bars 95, 97, and 99, and the ppp in bar 139: they all
apply without being stated. But again you may wish to preserve the style
of the original.


Indeed, not sure why those repetitions. Will keep with the original.


Further suggestions and corrections are welcome.

https://github.com/ambs/music/blob/master/Gounod/FuneralMarchOfAMarionette/march.pdf

Thank you,
Alberto



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Re: More Gounod :-)

[Alberto Simões]

On 31/01/16 15:36, Simon Albrecht wrote:

On 11/12/15 22:55, Simon Albrecht wrote:

On 11.12.2015 22:27, Alberto Simões wrote:


It is in the common place:
<https://github.com/ambs/music/tree/master/Gounod/FuneralMarchOfAMarionette>



Just from a quick glance:
– The slur in m. 23/24 is definitely not publication quality. You could
try \shape or better, \shapeII (of openlilylib; it has bugs, though).


I am not sure what slur you were talking about, but when adding the
page-count to 4, they all changed, and probably look better now?


– the ppp in the last bars look odd so far to the left


I think they are better now. I pushed them a little to the right (the
first time, and I continue doing do) because they were overlapping
with the measure line.


– And I’d try \paper { page-count = 4 }, it should work fine.


There are a lot of warnings in the lilypond output now, but yes,
lilypond manages to put everything in 4 pages. Not sure if it isn't
too crowded now.


The pdf at
<https://github.com/ambs/music/blob/master/Gounod/FuneralMarchOfAMarionette/march.pdf>
still has five pages. Is that the most recent version?


So used to SubVersion that I forget to push with Git.
Pushed now. Thanks!

Alberto

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Re: More Gounod :-)

[Alberto Simões]

Hi, Simon

Although I still have some corrections to do, proposed by Brian, I would 
love to first close your suggestions.


Yeah, last times have been rough, so a lot of time since this e-mail.

On 11/12/15 22:55, Simon Albrecht wrote:

On 11.12.2015 22:27, Alberto Simões wrote:


It is in the common place:
https://github.com/ambs/music/tree/master/Gounod/FuneralMarchOfAMarionette


Just from a quick glance:
– The slur in m. 23/24 is definitely not publication quality. You could
try \shape or better, \shapeII (of openlilylib; it has bugs, though).


I am not sure what slur you were talking about, but when adding the 
page-count to 4, they all changed, and probably look better now?



– the ppp in the last bars look odd so far to the left


I think they are better now. I pushed them a little to the right (the 
first time, and I continue doing do) because they were overlapping with 
the measure line.



– And I’d try \paper { page-count = 4 }, it should work fine.


There are a lot of warnings in the lilypond output now, but yes, 
lilypond manages to put everything in 4 pages. Not sure if it isn't too 
crowded now. Please give me your opinion.


Thanks,
Alberto

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More Gounod :-)

[Alberto Simões]

hello,

Just finished transcribing and validating the Funeral March of a 
Marionette, by Charles Gounod.


It is in the common place: 
https://github.com/ambs/music/tree/master/Gounod/FuneralMarchOfAMarionette


If any of you have some time and look into it, trying to find 
transcribing errors, or suggesting engraving approaches, I am grateful 
as always.


Best,
Alberto

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Re: Using tiny inside a chord

[Alberto Simões]

Hi

On 04/12/15 22:00, David Kastrup wrote:

miny = \tweak font-size #-2 \etc

and 


I hate when I try something that doesn't work, somebody suggest the same 
thing, and it works. Unfortunately I did not have saved my code, so, no 
idea what I did wrong.


Thank you, David!

Alberto

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Using tiny inside a chord

[Alberto Simões]

hello

I discussed this some time ago, I think...

why doesn't this work?

   

but it works if I apply tiny to the whole chord?

Thank you
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 30/11/15 14:08, tisimst wrote:

Now, that looks very nice. Great job! It will be a great addition to IMSLP.


Thank you for your help.
I will also contact Chris Sawyer, in case he wants to add these two 
musics to Mutopia.


Best,
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

in a nutshell:
s2\> s4\!
instead of
s2.\> s\!

And I have yet another suggestion: It works as is, but LilyPond would
have more freedom to make good linebreaks if you insert \bar "" at
appropriate places in the introduction’s cadenza.


Hi, Simon

Better like this?
https://github.com/ambs/music/blob/master/Gounod/LeRendezVous/suite.pdf

Thanks
Alberto


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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 29/11/15 21:49, tisimst wrote:

Alberto,

On Sunday, November 29, 2015, Alberto Simões-2 [via Lilypond] <[hidden
email] > wrote:



On 22/11/15 22:27, tisimst wrote:
 > I think there was a misunderstanding about the voicing in Valse
2. The
 > beamed groups should NOT be in \voiceOne. They should be in
\oneVoice.
 > That should clean up the space taken up by their respective
slurs, too.

Hi, Abraham.

Fixed those issues now. I think now I understood it correctly.
Please look into [1]

best,
Alberto

[1]
https://github.com/ambs/music/blob/master/Gounod/LeRendezVous/suite.pdf


It still looks like my comments didn't come across, or perhaps you
haven't yet committed those changes, because I'm still seeing the beamed
groups with the stems up where they don't (shouldn't?) be. I'll take a
look at the file later and try to send you more specifics.


Yes, I have missed the pull.
Should be fixed now, together with some other fixes Simon suggested.

Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hell, Simon

On 23/11/15 00:03, Simon Albrecht wrote:

The last measure of the Introduction actually has only two quarters (the
half note isn’t dotted), to be complemented by the immediately following
upbeat for Valse 1.


I need your help with this. Although I got it working for the upper 
voice, it is failing for the lower voice:


I am using: R1*1/2
And getting:

intro.ly:97:5: warning: barcheck failed at: 1/2
  |
R1*1/2 \bar "|."

Of course the upper measure is  gis2  and it doesn't complain there.


It seems that you intentionally replaced -! by -. in Valse 1, however
the original uses them distinctly and I’d stick with that.


Thanks for the note. I didn't really notice (and in fact I am not sure 
what that means, musically speaking, but I will find that out)



The hairpins in Valse 4 should stop at the third beat, I think.


Not sure what you mean with that one.


It would probably be better English to begin the Credits sentence with
‘Thanks to…’.


Fixed!


You’re welcome – and thanks for pointing to this delightful piece :-)


No, thank you for your help.

Working version at 
https://github.com/ambs/music/blob/master/Gounod/LeRendezVous/suite.pdf


Alberto



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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 22/11/15 22:27, tisimst wrote:

I think there was a misunderstanding about the voicing in Valse 2. The
beamed groups should NOT be in \voiceOne. They should be in \oneVoice.
That should clean up the space taken up by their respective slurs, too.


Hi, Abraham.

Fixed those issues now. I think now I understood it correctly.
Please look into [1]

best,
Alberto

[1] https://github.com/ambs/music/blob/master/Gounod/LeRendezVous/suite.pdf

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 23/11/2015 00:03, Simon Albrecht wrote:
It seems that you intentionally replaced -! by -. in Valse 1, however 
the original uses them distinctly and I’d stick with that. 


Ah, I see what you mean. Wasn't aware of that symbol... shame on me :-)

Thanks
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hi, Simon

On 23/11/2015 00:03, Simon Albrecht wrote:
The last measure of the Introduction actually has only two quarters 
(the half note isn’t dotted), to be complemented by the immediately 
following upbeat for Valse 1.


Damn. I though I had that correct, as I recall from when I was looking 
to it :( Thanks for pointing it up.
It seems that you intentionally replaced -! by -. in Valse 1, however 
the original uses them distinctly and I’d stick with that.
Now I got confused. will check what -! is for in the docs to try to 
understand your comment. :-)



The hairpins in Valse 4 should stop at the third beat, I think.


Will need to compare with the original. Will give it another look
It would probably be better English to begin the Credits sentence with 
‘Thanks to…’. 

Hehehe, sure :-) For me it would be easier in Portuguese O:-)

See you later,
Best,
Alberto


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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hi, Abraham,

On 22/11/2015 22:27, tisimst wrote:
I think there was a misunderstanding about the voicing in Valse 2. The 
beamed groups should NOT be in \voiceOne. They should be in \oneVoice. 
That should clean up the space taken up by their respective slurs, too.


Yep, I understood you were suggesting to make them the first voice.
I agree that making their beam go down will take less space. Will try 
later today, as that is quite fast.


Nevertheless, I would not like to join notes in, for example, measures 
5, 7 or 21 (Valse 2). I really thing this distinction might be relevant, 
expressing that the ones joined together can be played with the same 
"force", but that when they are separated, the melody is only the upper 
voice (my humble opinion, but as the original typeset back me, I will 
keep them as they are). :-) :-)


Thanks,
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hi all,

Final version here:

https://github.com/ambs/music/blob/master/Gounod/LeRendezVous/suite.pdf

Will submit it to IMSLP later to the end of the week, in case anybody 
spots any critical issue. I should say I am quite happy with it, and 
will print it ASAP to play it :)


Thank you, again, for all your help,
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 12/11/15 17:53, Simon Albrecht wrote:

On 12.11.2015 16:52, Alberto Simões wrote:

Hello, Simon!

On 12/11/15 11:21, Simon Albrecht wrote:


Two annotations:
– Sometimes it would be nice to have whiteout for DynamicTextSpanner
against SpanBar; I don’t quite know the best way to do it, though.
Perhaps you could use \markup\whiteout-box on the individual text bits?


I didn't understand it very well. You are saying the text from
crescendo/decrescendo and the -- -- are too close?


No, I meant overlaps as in valse 1, m. 39/40. The following works fine:
In 2.19.32, it will be possible to specify padding in whiteout-box (as
of issue 4504). That will be preferable then, but for now
whiteout-outline is just fine. (try \whiteout-box instead of \whiteout
to test)


Hi, Simon
Dynmics whiteout also fixed, and some other pushed a little to the side 
instead of whiting it out.


Current version at
 https://github.com/ambs/music/blob/master/Gounod/LeRendezVous/suite.pdf

Thank you
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hey,

On 11/11/15 19:22, tisimst wrote:


This is looking MUCH better (nice work with the extended dynamic lines
;-). I'll look at it in greater detail later, but here's one thing that
I immediately noticed quite a few instances of that you would get dinged
for: You should ALWAYS enclose a tied note within a slurred passage.
Here's what I mean:


OK, regarding slurs/expression marks I think that I am done.
I am aware of other details you all contributed with, but one step at a 
time.


So, if you would like to see the slur/expression marks result, visit
https://github.com/ambs/music/blob/master/Gounod/LeRendezVous/suite.pdf

Best,
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hi

On 22/11/15 13:52, tisimst wrote:

Valse 1 looks great! There's a natural in the LH chord in m. 58 that
shouldn't be there. If so a double check on all accidentals just to be
sauté there aren't others that should or shouldn't be there.


Yep, still fixing slurs, only. I have a couple other fixes in the queue.

But thank you for poking me on it :)

Will be back shortly :)
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 20/11/15 11:30, Alberto Simões wrote:

Hey

On 20/11/2015 05:49, Abraham Lee wrote:

That being said, since there appears to be arguments for doing it both
ways, I'd recommend that you pick one way and be consistent throughout
the entire work.


Can I ask what you like better? [1]

Valse 2, measures 3/4 or measures 7/8?

I am somewhat divided.

Thank you
Alberto

[1] https://github.com/ambs/music/blob/master/Gounod/LeRendezVous/suite.pdf

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hey

On 20/11/2015 05:49, Abraham Lee wrote:
That being said, since there appears to be arguments for doing it both 
ways, I'd recommend that you pick one way and be consistent throughout 
the entire work.


Yes, of course. I will try and check which one looks better.


If you have updated files that haven't yet been committed to the repo 
you'd like me to look over, let me know when they are available.


No, not yet :) As it was not needed for the question, I did not commit.
Will post whenever it is updated.

Cheers
ambs

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 11/11/15 19:22, tisimst wrote:

[1] https://github.com/ambs/music/tree/master/Gounod/LeRendezVous


This is looking MUCH better (nice work with the extended dynamic lines
;-). I'll look at it in greater detail later, but here's one thing that
I immediately noticed quite a few instances of that you would get dinged
for: You should ALWAYS enclose a tied note within a slurred passage.
Here's what I mean:


Sorry for the delay, but no time recently for my hobbies.

Dear Abraham, can you please check the repo [1] and tell me if you think 
that, in the second false, measure 3/4, the slur should also include the 
tie before it?


Thanks
ambs

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

That's about all for now. Hope that helps.

- Abraham


Thank you, Abraham

I will work the suggestions this weekend and let you all know when I 
have it fixed.


Best,
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hello, Simon!

On 12/11/15 11:21, Simon Albrecht wrote:


Two annotations:
– Sometimes it would be nice to have whiteout for DynamicTextSpanner
against SpanBar; I don’t quite know the best way to do it, though.
Perhaps you could use \markup\whiteout-box on the individual text bits?


I didn't understand it very well. You are saying the text from 
crescendo/decrescendo and the -- -- are too close?



– M.74 of the Coda lacks a ‘ral’ in ‘rallentando’.


Will look into it, thanks.


And just out of curiosity: What was your motivation to do the retypeset?


I printed both this and the Valse des Syphiles to play in the piano, but 
the digitization gets hard to read when printed. So, I decided to 
typeset both, so I can play them easier. Knowing IMSLP accepts 
transcriptions, I decided to uplod them, too :)


As I've contributed some small Diabelli pieces to Mutopia some time ago, 
I decided to create a github repo, so everyone can fix it if by some 
reason lilypond breaks it (as in, gets incompatibly). So, in the next 
weeks I might take those Diabelli pieces and try to update them for 
recent lilypond, and add to this same repo. By the way, if someone wants 
to join, let me know. >:-)


Best,
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 11/11/15 21:16, David Wright wrote:

On Wed 11 Nov 2015 at 12:22:32 (-0700), tisimst wrote:


This is looking MUCH better (nice work with the extended dynamic lines ;-).
I'll look at it in greater detail later, but here's one thing that I
immediately noticed quite a few instances of that you would get dinged for: You
should ALWAYS enclose a tied note within a slurred passage. Here's what I mean:

Inline image 1


Would it be possible for you to attach your image to the email rather
than to insert it in this form. Not everyone reads their email in HTML.


Here it goes

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 11/11/15 20:00, Simon Albrecht wrote:

I’d not keep slavishly to these, though; there has always been room for
disagreement and personal preference in this discipline.


Agreed :-)
I think that disagreement is always good. But to disagree I need to know 
with which to disagree about :)


Best,
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 11/11/15 19:41, tisimst wrote:

On Wed, Nov 11, 2015 at 12:29 PM, Alberto Simões-2 [via Lilypond]
<[hidden email] > wrote:

Although not doubting your suggestion, I would be very interested to
know if there is such a thing like a document describing a "best
practices" for writing/engraving music.


There definitely is (though I'd hardly call any of them a "document").
The most prominent work at the moment is Elaine Gould's "Behind Bars",
but there are others that are very good, some more dated than others:

  * Ted Ross - The Art of Music Engraving and Processing
  * Kurt Stone - Music Notation in the Twentieth Century: A Practical
Guidebook
  * Gardner Read - Music Notation: A Manual of Modern Practice
  * Clinton Roemer - The Art of Music Copying


Thank you.
Will try to find some of them. Mostly curiosity on the topic :)

Best,
Alberto

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

Hi, Abraham



This is looking MUCH better (nice work with the extended dynamic lines
;-). I'll look at it in greater detail later, but here's one thing that
I immediately noticed quite a few instances of that you would get dinged
for: You should ALWAYS enclose a tied note within a slurred passage.
Here's what I mean:


I understand your point, and happy to use it that way (although it is 
not the way the book editor did it).


Although not doubting your suggestion, I would be very interested to 
know if there is such a thing like a document describing a "best 
practices" for writing/engraving music.


Thank you,
Alberto

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Gounod - Le Rendez Vous

[Alberto Simões]

Dear list,

Again, I am both pleased to announce the transcription of the Gounod 
Suite of Valses, "Le Rendez Vous" [1] and asking for any correction you 
might suggest.


There is a couple of details you will find different from the original 
that are my own decision. But they should be clear.


I will upload the PDF to IMSLP during the weekend.

Thank you all for your precious help, without which I wouldn't be able 
to accomplish this task (both for Lilypond itself, as for feedback and 
random help).


Best,
Alberto

[1] https://github.com/ambs/music/tree/master/Gounod/LeRendezVous

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Re: Chords with "optional" notes

[Alberto Simões]

On 10/11/15 20:57, Simon Albrecht wrote:

The cheapest way would be (using a syntax introduced very recently)
%%
sm = \tweak #'font-size #-4 \etc
{  }
%%


This sounds awesome. Love that \etc there :)

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Re: Chords with "optional" notes

[Alberto Simões]

On 10/11/15 19:36, Marc Hohl wrote:

Am 10.11.2015 um 20:31 schrieb Alberto Simões:

Hello

There are musics where chords have a smaller note, that is optional.

I found some logs from this mailing list in 2007, suggesting things like:

\tweak #'font-size #-4 g

Is there any easier way? (as in, less verbose).

In fact, I have a bunch of octave chords, where the upper note is
smaller. If someone knowing a little of scheme would help me writing a
macro/function for that, I would be much appreciated.


Perhaps

http://lsr.di.unimi.it/LSR/Item?id=538

is a good starting point for some scheme trickery?


Tried to apply it directly at first, but got this complain from lilypond:

Parsing...: While evaluating arguments to memoization in 
expression (do () (#) ...):

: Illegal empty combination ().

I am running LilyPond 2.19.30.

Thank you,
Alberto

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Re: Chords with "optional" notes

[Alberto Simões]

On 10/11/15 19:36, Marc Hohl wrote:

Hello

There are musics where chords have a smaller note, that is optional.

I found some logs from this mailing list in 2007, suggesting things like:

\tweak #'font-size #-4 g

Is there any easier way? (as in, less verbose).

In fact, I have a bunch of octave chords, where the upper note is
smaller. If someone knowing a little of scheme would help me writing a
macro/function for that, I would be much appreciated.


Perhaps

http://lsr.di.unimi.it/LSR/Item?id=538

is a good starting point for some scheme trickery?


Yay.

It shouldn't be harder than Perl :-)

lets try.
Thank you
Alberto

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Chords with "optional" notes

[Alberto Simões]

Hello

There are musics where chords have a smaller note, that is optional.

I found some logs from this mailing list in 2007, suggesting things like:

   \tweak #'font-size #-4 g

Is there any easier way? (as in, less verbose).

In fact, I have a bunch of octave chords, where the upper note is 
smaller. If someone knowing a little of scheme would help me writing a 
macro/function for that, I would be much appreciated.


Best,
Alberto

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Re: Removing "cautionary" natural

[Alberto Simões]

On 08/11/15 18:16, tisimst wrote:

\once \omit Accidental


Like a charm.

Thank you!
Alberto

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Re: Cadenza... in the MIDI

[Alberto Simões]

THank you :)

On 05/11/15 21:14, H. S. Teoh wrote:

On Thu, Nov 05, 2015 at 09:00:26PM +, Alberto Simões wrote:

Hello

Probably this is in the manual, but I did not find it.

Is it possible to change the tempo (playing speed) in a specific zone
of the music?

[...]

Usually what I do is to insert "invisible" \tempo marks to control midi
playback speed. Or more precisely, \tag them so that they are removed
from the typeset score, but included in the midi score. Something like
this:

myMusic = {
\tempo 4 = 120 % initial tempo
...
\tag #'midi \tempo 4 = 130 % tweak midi tempo
...
\tag #'midi \tempo 4 = 120 % set it back to "normal"
...
}

% Score for layout only
\score {
\removeWithTag #'midi \myMusic
\layout {}
}

% Score for midi only
\score {
\myMusic
\midi {}
}


T



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Removing "cautionary" natural

[Alberto Simões]

Hello

I have a melody where, somewhere, there is a bes
a little later, the is a bes'
then a b'
and later a b
this last b has a natural mark (like the previous one) because (I think) 
it is in a different pitch.


Nevertheless I would like to "remove" (hide) it.

What is the easiest way?

THank you
Alberto

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Cadenza... in the MIDI

[Alberto Simões]

Hello

Probably this is in the manual, but I did not find it.

Is it possible to change the tempo (playing speed) in a specific zone of 
the music?


Best,
Alberto

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Re: Cadenza...

[Alberto Simões]

On 03/11/15 21:57, Malte Meyn wrote:

In LilyPond versions above 2.19.something there is the more advanced
command \magnifyMusic that scales also stem lengths, beam thicknesses
and some other things.
 \magnifyMusic #(magstep -2) { here comes the music }
 % magstep -2 is the same factor as fontSize = -2, i. e. 2^(-2/6)


Hi

This would be handy, as changing only the size, the spacing between 
notes is mostly kept unaltered.


So, installing MacOS X x86: LilyPond 2.19.30-1

Will be back later... if my laptop doesn't blow up :D

Best
Alberto

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Cadenza...

[Alberto Simões]

Hello

First, sorry if the name is not the correct one. For me the lilypond 
website is down for two days, making it hard to look the glossary :-)


What is the correct/best/modern way to obtain something like the excerpt 
in attach? Making the measure have a different duration is easy... my 
main question is the notes size.


Is tweaking the notes size the correct way to do it?

Thank you
Alberto
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Re: Website down?

[Alberto Simões]

On 03/11/15 21:16, Federico Bruni wrote:

Il giorno mar 3 nov 2015 alle 21:56, Edward Ardzinski
 ha scritto:

I haven't been able to reach http://www.lilypond.org in a few days...


it's working fine now


still having trouble here. :(

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Re: Valse des Sylphes - Charles GOUNOD

[Alberto Simões]

On 03/11/15 11:20, Michael Gerdau wrote:

I'm puzzled by repeated reminder accidentals on tied notes in:
Bar 110: Natural sign before the tied C in the lower staff
Bar 112: Sharp sign before the tied F-sharp in the upper staff
Bar 120: Sharp sign before the tied F-sharp in the upper staff
Bar 122: Sharp sign before the tied F-sharp in the upper staff
Bar 124: Natural sign before the tied C in the lower staff


Interstingly enough these do not appear when I create the PDF on my
local LP 2.19.30. In fact, the PDF I create myself clearly differs from
the one found on github.

When I compare my self created PDF it seems very much in agreement
with the original though I have not done this check against the newest
version (only done that with the previous one).


All fixed \o/

Thank you!

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