Re: \fine and \section across staves

[anthony]

On 03/11/2022 17:41, Jean Abou Samra wrote:

In general, it's always been a credo through repeat-related changes that
the repeat structure in the user input is expected to match across staves,
reflecting the actual music. If you do this, it will also be easier to
extract parts.


Like bar line warnings, is there a warning that will complain about 
mismatched repeats across staves/voices/whatever? This has bitten me in 
the past, although on the odd occasion I did it deliberately for 
simplicity of note entry ...


Cheers,
Wol

Re: explicitClefVisibility

[Anthony Rushforth]

Hello again,

I need to use both :
\set Staff.explicitKeySignatureVisibility = #begin-of-line-visible
\set Staff.printKeyCancellation = ##f

it's perfect !

thank you very much, this mailing list is always a miracle
Anthony


Le ven. 12 mars 2021 à 17:45, Brian Barker  a
écrit :

> At 16:11 12/03/2021 +0100, Anthony Rushforth wrote:
> >I'm trying to get rid of key modifiers at end of lines.
> >I found this :
> >\set Staff.explicitClefVisibility = #end-of-line-invisible
> >which works well when flats are added, but not when sharps are added
> >I don't find the answer in the documentation
>
> As has been said, it's not a question of sharps rather than flats but
> of removing elements of the key signature instead of simply adding them.
>
> How about
> \set Staff.printKeyCancellation = ##f
> in addition to what you have?
>
> Brian Barker
>
>
>

explicitClefVisibility

[Anthony Rushforth]

Hello

I'm trying to get rid of key modifiers at end of lines.
I found this :
\set Staff.explicitClefVisibility = #end-of-line-invisible
which works well when flats are added, but not when sharps are added
I don't find the answer in the documentation

here is the ly an pdf result
you can see the problem measure 7, where the sharps begin...

Anthony
\version "2.18.2"
symbols = { 
\once \hide Score.MetronomeMark \tempo 1=60
\time 7/1 
\set Staff.explicitKeySignatureVisibility = #begin-of-line-visible
\key c \major c1 d e f g a b
\break \transpose c f {\key c \major c1 d e f g a b}
\break \transpose c bes {\key c \major c1 d e f g a b}
\break \transpose c ees {\key c \major c1 d e f g a b}
\break \transpose c aes {\key c \major c1 d e f g a b}
\break \transpose c des {\key c \major c1 d e f g a b}
\set Staff.explicitClefVisibility = #end-of-line-invisible

\break \transpose c ges {\key c \major c1 d e f g a b}
\break \transpose c b {\key c \major c1 d e f g a b}
\break \transpose c e {\key c \major c1 d e f g a b}
\break \transpose c a {\key c \major c1 d e f g a b}
\break \transpose c d {\key c \major c1 d e f g a b}
\break \transpose c g {\key c \major c1 d e f g a b}
}	  
\paper
{
indent=0\mm
   line-width=120\mm
   oddFooterMarkup=##f
   oddHeaderMarkup=##f
   bookTitleMarkup = ##f
   scoreTitleMarkup = ##f
}
\score
{
\new Staff \with {  \omit TimeSignature } { \clef "treble_8" \symbols }
\layout {  \omit Staff.StringNumber }
}


scales.pdf
Description: Adobe PDF document

Re: LilyPond v2.20.0 on Raspberry Pi OS (Debian buster)

[Anthony Fok]

Hi Feri and renyhp,

On Sun, Nov 22, 2020 at 2:40 AM  wrote:
> renyhp  writes:
> > If the path of installing debs is totally closed, is it possible to
> > make my own build?
> Ask the Debian package maintainer to provide an official backport.  It
> should be straightforward.

Thank you Feri for the suggestion, i.e. to ask Debian package
maintainers to do an official Debian backport of lilypond 2.20.0 to
buster-backports.  And that was exactly what renyhp did!  It did take
us a while, especially as the three of us (Don, Tobias and I) had been
rather busy, and I had forgotten where to start and had to learn it
all over again.

I am happy to announce that Debian Backports FTP Masters
have accepted lilypond 2.20.0-4~bpo10+1 into buster-backports,
and the ARM builds (arm64, armhf and armel) are all ready:

https://packages.debian.org/buster-backports/lilypond
https://tracker.debian.org/pkg/lilypond

https://buildd.debian.org/status/package.php?p=lilypond&suite=buster-backports

Please let us know your experience of using lilypond from buster-backports
on Debian 10 (buster) x86/amd64, Raspberry Pi OS, or any other
architectures or platforms combination.

Cheers,

Anthony

Re: Clef "treble_8"

[Anthony Rushforth]

"\omit ClefModifier" is what I want, thank you

I have tried Amy's suggestion too, but the notes don't change, I'm doing
something wrong :
\version "2.18.2"
\score
{
\new Staff {
   %\clef "treble_8"
\transposition c''
   b
 }
}

Now I want also the time signature "C" to disappear... I've read the doc
<http://lilypond.org/doc/v2.18/Documentation/notation/typesetting-mensural-music#mensural-time-signatures>,
but don't see how. Is there a "\omit" ?
Thank you for your responses

Anthony


Le lun. 10 févr. 2020 à 14:46, David Kastrup  a écrit :

> Anthony Rushforth  writes:
>
> > Hello,
> >
> > I'm writing music for classical guitar, so I use the key " \clef
> "treble_8""
> >
> > I would like to make the "8" symbol disappear (although I know it's the
> > correct way to represent it)
> >
> > [image: image.png]
> >
> >
> > I guess it can be done with a ClefModifier but I don't know how to use
> it.
>
> You mean, without a ClefModifier.
>
>
>
> --
> David Kastrup
>

Clef "treble_8"

[Anthony Rushforth]

Hello,

I'm writing music for classical guitar, so I use the key " \clef "treble_8""

I would like to make the "8" symbol disappear (although I know it's the
correct way to represent it)

[image: image.png]


I guess it can be done with a ClefModifier but I don't know how to use it.

Anthony

Re: Lots of temporary files when generating png files

[Anthony Rushforth]

"-dcrop" is perfect in my case, thank you !

This flag is new and I didn't have it in the version I was using (stable).
For information it's documented here :
http://lilypond.org/doc/v2.19/Documentation/usage/command_002dline-usage
And the announcement is here :
http://lilypond.org/doc/v2.19/Documentation/changes/index.html

Now I use the development version, and I can crop...

Thank you for sharing all the methods you use, I'll use them perhaps one
day, probably using openCV instead.

Regards,
Anthony




Le mar. 4 févr. 2020 à 22:54, David Wright  a
écrit :

> On Tue 04 Feb 2020 at 20:38:47 (+), Kevin Barry wrote:
> > > An example where I do have your problem is with pdflatex, which not
> > > only writes .aux and .log files, but leaves them world-writeable.
> > That's odd! Is it because of your umask?
>
> No. (BTW it's the .aux and .pdf files, not the .log, and the LaTeX
> variant is lualatex, successor to pdflatex.) Mine is
> $ umask u=rwx,g=rx,o=
>
> The earliest report I saw of the bug was back in 2010:
>
> https://tug.org/pipermail/luatex/2010-September/001998.html
>
> but more recent is:
>
> https://bugs.launchpad.net/ubuntu/+source/texlive-base/+bug/1333016
>
> though I'm using Debian stable, which usually means that bugs occur
> later, or have already been fixed by the time stable is released.
>
> My course of action is typically to write a workaround, and then
> forget about it. All my scripts and functions call a bash function
> -pdfl, which contains my fix. A single location also means I'm
> prepared for when the flavour of choice changes from lua…tex
> to something else (as happened with pdf…tex).
>
> Cheers,
> David.
>

Re: Lots of temporary files when generating png files

[Anthony Rushforth]

@Aaron : Because if I use your command line I get this png : a full page

I want a cropped png, and I found the command line I use in the
documentation (
http://lilypond.org/doc/v2.19/Documentation/usage-big-page#lilypond-output-in-other-programs)
:

> To produce ‘PNG’ images;
>
> lilypond -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts --png myfile.ly
>
>
I don't understand why it has to be "eps", but it's the only way I found...
do you have another option to get cropped images ?

@David : I'm writing a program that generates html files including images
with lilypond scores.
My first attempt was using "lilypond-book" but I need more control (I want
to include midi file for example).
I will delete the remaining EPS file from my program.

Regards,
Anthony


Le mar. 4 févr. 2020 à 15:37, Aaron Hill  a
écrit :

> On 2020-02-04 6:07 am, Anthony Rushforth wrote:
> > There's only one eps remaining (c1c1e1g1.eps in my example), the other
> > ones
> > don't appear (including c1c1e1g1-1.eps).
> >
> > Le mar. 4 févr. 2020 à 11:46, Mark Knoop  a écrit :
> >> At 10:25 on 04 Feb 2020, Anthony Rushforth wrote:
> >> > I use this command line to generate png files :
> >> > lilypond  -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts
> >> > -dpixmap-format=pngalpha -dresolution=100 --png c1c1e1g1.ly
>
> Why use -dbackend=eps at all?  There seems to be some spurious options
> in there.
>
> I generate transparent PNGs all the time and never have to deal with
> extra files.
>
> Here is my command-line:
>
> 
> lilypond \
>-dresolution=288 \
>-dpixmap-format=pngalpha \
>--png \
>source.ly
> 
>
>
> -- Aaron Hill
>
>

Re: Lots of temporary files when generating png files

[Anthony Rushforth]

Thank you ! I searched a lot but did not find this option.

There's only one eps remaining (c1c1e1g1.eps in my example), the other ones
don't appear (including c1c1e1g1-1.eps).

I'll add a "delete" in the calling program...

Thanks again



Le mar. 4 févr. 2020 à 11:46, Mark Knoop  a écrit :

> At 10:25 on 04 Feb 2020, Anthony Rushforth wrote:
> > Hello,
> >
> > I use this command line to generate png files :
> > lilypond  -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts
> > -dpixmap-format=pngalpha -dresolution=100 --png c1c1e1g1.ly
> >
> > I took the command line from
> >
> http://lilypond.org/doc/v2.19/Documentation/usage-big-page#lilypond-output-in-other-programs
> >
> > It generates these files :
> > c1c1e1g1-1.eps
> > c1c1e1g1-systems.count
> > c1c1e1g1-systems.tex
> > c1c1e1g1-systems.texi
> > c1c1e1g1.eps
> >
> > Is it possible to avoid these files or put them in another location ?
>
> -dno-aux-files will get rid of most, although not the ...-1.eps file.
>
> --
> Mark Knoop
>
>

Lots of temporary files when generating png files

[Anthony Rushforth]

Hello,

I use this command line to generate png files :
lilypond  -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts
-dpixmap-format=pngalpha -dresolution=100 --png c1c1e1g1.ly

I took the command line from
http://lilypond.org/doc/v2.19/Documentation/usage-big-page#lilypond-output-in-other-programs

It generates these files :
c1c1e1g1-1.eps
c1c1e1g1-systems.count
c1c1e1g1-systems.tex
c1c1e1g1-systems.texi
c1c1e1g1.eps


Is it possible to avoid these files or put them in another location ?
\version "2.18.2" 
symbols={
1
}
\paper
{
indent=0\mm
   line-width=120\mm
   oddFooterMarkup=##f
   oddHeaderMarkup=##f
   bookTitleMarkup = ##f
   scoreTitleMarkup = ##f
}
\score
{
\new Staff { \clef "treble_8" \symbols }
\layout {  \omit Staff.StringNumber }
\midi { }
}

Re: Tablature positions

[Anthony Rushforth]

 Hello Stig,

I've posted this mail twice by mistake, I have the answer now :
https://lists.gnu.org/archive/html/lilypond-user/2019-03/msg00417.html
It's what you recommend, with \omit Staff.StringNumber

I searched I read the document multiple times but I didn't understand that
finger numbering applied also to tablature.

Thanks
Tonio

Le lun. 1 avr. 2019 à 15:35, Anthony Rushforth  a
écrit :

> Hello Stig,
>
> I've posted this mail first by mistake, I have the answer now :
> https://lists.gnu.org/archive/html/lilypond-user/2019-03/msg00417.html
> It's what you recommend, with \omit Staff.StringNumber
>
> When I searched I read the document multiple times but I didn't understand
> that finger numbering applied also to tablature.
>
> Thanks
> Tonio
>
> Le lun. 1 avr. 2019 à 11:06, Stig Brautaset  a écrit :
>
>> Hi Tonio,
>>
>> You can use "\finger" to specify specific finger numbering for notes
>> within a chord. Try: "{b1\3}" in your case. See also:
>>
>> http://lilypond.org/doc/v2.19/Documentation/notation/common-notation-for-fretted-strings#string-number-indications
>>
>> Regards,
>>
>> Stig
>>
>> Tonio Rush  writes:
>> > I would like to force a finger position in a tablature for a particular
>> > note in a chord, but the "\set TabStaff.minimumFret = #3 " seems to
>> apply
>> > to the whole chord.
>> >
>> > In this example I would like the b to be in string 3 (g), 4th position.
>> > I've tried to separate the voices, but if I uncomment "\set
>> TabStaff..." ,
>> > it applies to all notes :
>> >
>> > symbols={
>> > <<
>> > {e,1}
>> > {a,1}
>> > {d1}
>> > %\set TabStaff.restrainOpenStrings = ##t
>> > %\set TabStaff.minimumFret = #3
>> > {b1}
>> >>>
>> > }
>> > \score {<< \new Staff { \clef "treble_8" \symbols }\new TabStaff {
>> \symbols
>> > }>>}
>> >
>> >
>> > Thanks
>> > Tonio
>> > ___
>> > lilypond-user mailing list
>> > lilypond-user@gnu.org
>> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>> ___
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>> lilypond-user@gnu.org
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>>
>
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Re: Force tablature position

[Anthony Rushforth]

Perfect ! Thank you to both of you !

[image: image.png]

symbols={ 1}
\score {<< \new Staff { \clef "treble_8" \symbols }\new TabStaff { \symbols
}>>}
\layout {  \omit Staff.StringNumber }


Le mer. 27 mars 2019 à 21:23, Federico Bruni  a écrit :

> Il giorno mer 27 mar 2019 alle 18:25, Malte Meyn
>  ha scritto:
> > You can use \3 for placing it on the third string:
> >
> > symbols = 1
>
> ... and string numbers on Staff can be removed:
>
> \layout {
>   \omit Staff.StringNumber
> }
>
>
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Force tablature position

[Anthony Rushforth]

Hello,

I would like to force a finger position in a tablature for a particular
note in a chord, but the "\set TabStaff.minimumFret = #3 " seems to apply
to the whole chord.

In this example I would like the b to be in string 3 (g), 4th position.

[image: image.png]

I've tried to separate the voices, but if I uncomment "\set TabStaff..." ,
it applies to all notes :

symbols={
<<
{e,1}
{a,1}
{d1}
%\set TabStaff.restrainOpenStrings = ##t
%\set TabStaff.minimumFret = #3
{b1}
>>
}
\score {<< \new Staff { \clef "treble_8" \symbols }\new TabStaff { \symbols
}>>}


Thanks
Tonio
symbols={
<< 
	{e,1}
	{a,1} 
	{d1} 
%	\set TabStaff.restrainOpenStrings = ##t
%	\set TabStaff.minimumFret = #3 
	{b1}
>>
}
\score {<< \new Staff { \clef "treble_8" \symbols }\new TabStaff { \symbols }>>}___
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Re: an "odd" accidental problem...

[Anthony Youngman]

On 27/07/18 13:30, Torsten Hämmerle wrote:

Wols Lists wrote

I'm more used to seeing what you describe in key signatures, […]

Yes, that's pretty much standard for key signature changes and LilyPond uses
cancellation naturals by default (this can be switched off).

Well, lilypond is about the only place I ever normally see it! :-) YMMV :-)

Cheers,
Wol
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Re: Moving a tempo mark to the right

[Anthony Youngman]

On 01/09/17 23:19, David Kastrup wrote:

Anthony Youngman  writes:


On 01/09/17 22:14, David Kastrup wrote:

Change the memory for known good memory, and the kernel
compiled fine.  No idea what Gcc does that memory test programs fail to
account for.


Have you come across the memory smashing exploit? I can't remember
much about it, but if you can hammer memory in your own VM, you can
actually corrupt memory in the next door VM. Even worse, you can
control the corruption with the intent of hacking into the VM!

I'm pretty certain there are proofs of concept out there. So I guess
gcc might be doing exactly that by accident to cheap memory (my RAM is
the "value" brand - paid about £13 per 4GB stick). When I think back
the first memory I ever bought was £50 for a 32*M*B stick :-)


The first memory I bought was about DM800 for 64kByte and I had to
solder it to the PCB myself, all 32 DIP packages.  And it needed +12V
and -5V rails in addition to the +5V rail to run.


Ouch!

£1 = 3DM roughly, iirc?


The first external data media I worked with was cardboard, and the
biggest longterm data storage peril were mice.  And I don't mean the
input devices but the rodents.

The first PC I *bought* was a Pentium (actually a 686), but seeing as I 
started work as a programmer immediately on leaving school I had access 
to old computers my employer(s) were scrapping.


The first piece of hardware I remember my employer buying was one of 
those 300MB drives - you know - the ones with the 10-platter diskpacks, 
and the size of a domestic fridge. It quadrupled our storage capacity!


Cheers,
Wol

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Re: Moving a tempo mark to the right

[Anthony Youngman]

On 01/09/17 22:14, David Kastrup wrote:

Change the memory for known good memory, and the kernel
compiled fine.  No idea what Gcc does that memory test programs fail to
account for.


Have you come across the memory smashing exploit? I can't remember much 
about it, but if you can hammer memory in your own VM, you can actually 
corrupt memory in the next door VM. Even worse, you can control the 
corruption with the intent of hacking into the VM!


I'm pretty certain there are proofs of concept out there. So I guess gcc 
might be doing exactly that by accident to cheap memory (my RAM is the 
"value" brand - paid about £13 per 4GB stick). When I think back the 
first memory I ever bought was £50 for a 32*M*B stick :-)


Cheers,
Wol

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Re: Moving a tempo mark to the right

[Anthony Youngman]

On 01/09/17 21:11, Anthony Youngman wrote:
The big problem I can see is if sometimes it occurs at the start of a 
line, in which case the rehearsal mark will naturally move left out of 
the way, and letting lily move stuff around may move it to the middle of 
the line where I get a collision. Saying "move this grob a fixed 
distance" is going to completely mess up if this happens. So I need 
something that stops a collision, not something that moves text/marks 
out of the way.


BINGO!

Not perfect, but it looks a lot better. Dunno why, but I thought 
\markLengthOn affected rehearsal marks. It doesn't, it affects tempo 
marks, and it does exactly what I want, moving them out of the way so 
they don't collide with rehearsal marks! :-) :-) Even better, my tune 
names are aligned on the tempo marks! :-)


I still want some way of making rehearsal marks push notes sideways out 
of the way, as it looks naff and can waste space, but it's much better.


The only thing now is outside-staff-priority doesn't move stuff if 
there's no collision :-) I've told it to put the tune above the tempo, 
but the tempo has been pushed up by an MMR count, and because that's 
left enough space underneath for the tune, it's put it there :-)


Cheers,
Wol

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Re: Moving a tempo mark to the right

[Anthony Youngman]

On 01/09/17 21:36, David Kastrup wrote:

I find the same thing with databases. So many people have their minds
stuck in the 2-D relational world, and just cannot grasp the concept
of a multi-dimensional database like Pick. Given that Pick is very
much list-based (unlike SQL which is set-based), why can't I grasp a
list-based language like Scheme? And Pick is very XML-like!

Because Scheme (like all LISP variants) does not even have a programming
language.  It has a clever way to write down parse trees as a
computer-readable data structure, bypassing the step of coding in a
programming language.  That makes it brilliant for structure-preserving
program manipulation and AI.


But Scheme *IS* a language. Although I do understand exactly what you 
mean - my very first computer was a Jupiter Ace, which used Forth 
instead of BASIC. So I've been exposed to that sort of thing right from 
the start, but I never really used it much.



Thanks - I'll look up and understand what it does. The only snag is
that I've got 2.18.2, which doesn't like your code. That's the latest
on SuSE, and my gentoo system (which I daren't upgrade at the moment)
is even older - 2.15.12

2.15.12 is stupid: that's an early version in the unstable 2.15 branch.

If your distribution lets you down, you might try installing a binary
from our download page.


Nothing to do with the distro - as I said I daren't upgrade. Firstly, 
gentoo has dropped KDE4 which means major UI changes which will give my 
wife panic attacks (slight exaggeration, but not much). (Plus a big 
learning curve for me.) And secondly my hardware is not quite 
trustworthy - gcc crashes a lot which I think is down to the CPU 
somewhere :-( Dunno why it's only gcc that seems to suffer (remember, 
the distro is gentoo :-)


Cheers,
Wol

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Re: Moving a tempo mark to the right

[Anthony Youngman]

On 01/09/17 15:17, Kieren MacMillan wrote:

Hi Wol,



While it may sound weird. the reality is you probably didn't find it too hard 
to learn Scheme, because you're a composer not a programmer.


Actually, I am a programmer: started with BASIC (and a little assembler 
language) in the early 1980s, then FORTRAN (including WATFIV) and APL in the 
late 1980s, then Java in the late 1990s, and a bunch of lesser languages 
(scripting, etc.) along the way.


Because I'm a procedural (that is. C and Fortran) programmer, it's a lot harder 
for me to learn Scheme because it's a completely different *sort* of language.


I agree that it's very difficult for some procedural programmers to learn. I 
found the same thing when I taught XSL(T), which I find extremely intuitive, 
but many of my students (and programmer friends) find it impossible to get 
their mind around.


I find the same thing with databases. So many people have their minds 
stuck in the 2-D relational world, and just cannot grasp the concept of 
a multi-dimensional database like Pick. Given that Pick is very much 
list-based (unlike SQL which is set-based), why can't I grasp a 
list-based language like Scheme? And Pick is very XML-like!



I want the rehearsal mark sitting above the stave. That's easy (or should be, 
just adjust outside-staff-priority).
Push the music to the right so it doesn't collide with the rehearsal mark


So you literally want a gap under the mark?


Not really. It just feels the easy way to achieve roughly what I'm 
aiming for. As I understand it, the rehearsal mark sits above the bar 
line, while the tempo and melody-name sit above the note? So the easiest 
way (not necessarily the best or neatest) to prevent a collision is to 
push the note sideways out of the way?


The big problem I can see is if sometimes it occurs at the start of a 
line, in which case the rehearsal mark will naturally move left out of 
the way, and letting lily move stuff around may move it to the middle of 
the line where I get a collision. Saying "move this grob a fixed 
distance" is going to completely mess up if this happens. So I need 
something that stops a collision, not something that moves text/marks 
out of the way.



Then use one of the text-alignment functions to place the melody above the tempo


I hope the following helps, or at least points you in the right direction.

Thanks - I'll look up and understand what it does. The only snag is that 
I've got 2.18.2, which doesn't like your code. That's the latest on 
SuSE, and my gentoo system (which I daren't upgrade at the moment) is 
even older - 2.15.12


Cutting and pasting to get a small demo of what lily does by default and 
what I've tried is looking to be a very good idea ... I know the list 
always wants minimal examples and I'm bad at doing it, but I think I'll 
have to. I'll hack at it for a day or so and see where I get ...



Best,
Kieren.


Cheers,
Wol


  SNIPPET BEGINS
\version "2.19.40"

markplusmel =
#(define-music-function
   (marktext melodyname)
   (markup? markup?)
   #{
 \once \override Score.RehearsalMark.break-align-symbols = 
#'(time-signature)
 \once \override Score.RehearsalMark.self-alignment-X = #LEFT
 \mark \markup \override #'(baseline-skip . 2.5) \column { $marktext 
\fontsize #-2 $melodyname }
   #})

testing = {
   \markplusmel "AAA" "All Killer, No Filler"
   \tempo 4=100
   c''1
}

{ \testing }
  SNIPPET ENDS


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




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Re: Moving a tempo mark to the right

[Anthony Youngman]

On 19/08/17 15:11, Kieren MacMillan wrote:

Hi Wol,


My usual moan about colliding markups :-)


Given how usual your moans are…  ;)


Mind you, don't they say moaning customers are the best sort? They 
*want* the product to succeed.



Can I ask why you don't just write a custom function to deal with the various 
markups automatically?
It really wouldn't be that difficult, and would reduce the moaning to zero (or 
nearly).

Given that I can't even do it ONCE successfully, what makes you think I 
can write a function to do it automatically?


While it may sound weird. the reality is you probably didn't find it too 
hard to learn Scheme, because you're a composer not a programmer. 
Because I'm a procedural (that is. C and Fortran) programmer, it's a lot 
harder for me to learn Scheme because it's a completely different *sort* 
of language.


I really don't fancy trying to write a function that is a superset of 
rehearsal mark, tempo mark, and text markup, all in one ...



As to your precise question:


"what property moves a tempo horizontally?"


The answer is: the same things that move almost any grob horizontally.
X-offset, self-alignment-X, and extra-offset are the main properties to start 
looking at (in that order).

Hope that helps!
Kieren.


I thought it did! EXCEPT. I got self-alignment-X to fix one instance. It 
doesn't work anywhere else! It must be me doing something stupid, but 
why would it work in one instance, and nowhere else? (I'm guessing it's 
working because it's above an MMR, and not working because it's above a 
note.)


And, of course, in successfully moving the tempo (and pushing the melody 
name up above it), because it's at the start of a line and the melody 
name is tied to a null chord, the null chord is placed at the start of 
the line before the clef and time signature! :-(


So what I'm trying to do at the moment is ...
I want the rehearsal mark sitting above the stave. That's easy (or 
should be, just adjust outside-staff-priority).
Push the music to the right so it doesn't collide with the rehearsal 
mark - it looks like \markLengthOn is what I want, except it doesn't 
appear to do anything! :-( That should push the notes, and hence the 
tempo to the right. Unless, of course, it's an MMR ...
Then use one of the text-alignment functions to place the melody above 
the tempo - except trying to understand what the documentation *means* 
is a major exercise (no disrespect to the writers - I'm sure I'm as good 
as they are at writing docu that makes perfect sense to people who 
already understand what it's trying to say :-)


Dunno where to go from here - just tearing my hair out :-) When lily 
works for me it's great - I just don't seem to be able to get to grips 
with anything complicated ... :-(


Cheers,
Wol

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Moving a tempo mark to the right

[Anthony Youngman]

My usual moan about colliding markups :-)

Anyways, I've almost got this bit how I want it ... the following code 
has a rehearsal mark, tempo mark, and melody name all in "the same place".


s2.*3 s1*8 \bar "||" \mark \default % 111
\tempo "Languidly"
\once \override TextScript.outside-staff-priority = #2000 
<>^\markup { \halign #-1.1 \small "The Last Night Of The World" }


The melody name is successfully moved up and to the right such that it 
no longer collides with the rehearsal mark, but the tempo mark still 
collides. The docu for halign says that it doesn't work for some marks 
(because they contain their own alignment code), and it looks like tempo 
is one of them. So how do I move a tempo mark to the right to get rid of 
the collision?


(Yes I know - there's no "minimal example", but the question basically 
is "what property moves a tempo horizontally?")


Cheers,
Wol

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Re: : Re: transpose range

[Anthony Youngman]

On 26/06/17 22:56, Peter Gentry wrote:

dak@lola:/usr/local/tmp/lilypond$ lilypond scheme-sandbox GNU LilyPond 2.19.59 
Processing `/usr/local/share/lilypond/2.19.59/ly/scheme-sandbox.ly'
Parsing...
guile> (apply - (map ly:pitch-tones (list #{ eis #} #{ fes #})))
1/2
guile>


--
David Kastrup

A semi tone difference is indeed noticeable but surely there is no semitone 
between e sharp and f flat?
It’s the same key on the piano! Where is the semitone?
Instead of enlightening me you simply reply with a superior and dismissive tone 
which is uncalled for.


Two little points.

Firstly, please DON'T reply beneath someone else's signature. Okay, 
you're probably using a broken email client (otherwise it wouldn't let 
you), but it makes things *really* confusing, especially if a non-broken 
client tries to "correct" things and makes it even worse, and


Secondly, if someone comes back at you like this, your immediate 
reaction should be "hang on, is this a corner case" - that's a 
programming term - it's a place where either reality or your assumptions 
change - and it's an *extremely* common cause of errors because all too 
often reality and assumptions don't change in exactly the same place! As 
indeed, is exactly what happened here.


I "often" play in six flats, and am interested in pentatonic (ie all 
black note) folk music, so it was instantly obvious to me what David was 
talking about, although if you're not into that you might not notice 
straight away. And why do people assume everyone plays the piano? My 
piano skills are Grade 0, despite me being a pretty decent amateur 
musician ...


Cheers,
Wol

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Re: Key signatures repeated on every staff

[Anthony Youngman]

On 15/04/17 15:55, Malte Meyn wrote:

May I ask how much sheet music you have seen so far? All (!) classical
sheet music repeats key signature at every line. And many editions of
pop/jazz/… do that also.


And most of the music I see from the turn of last century does NOT. 
However, imho, it makes it quite difficult to read, so one of the 
reasons for me re-doing the music is to put those key signatures in. 
(Along with changing the clef, or transposition, or taking an almost 
illegible copy and fixing it :-)


Cheers,
Wol

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Re: Making the Dedication field align left

[Anthony Youngman]

On 26/02/17 00:38, Simon Albrecht wrote:

Am 26.02.2017 um 00:47 schrieb Wols Lists:

I've stuck that definition
in its own .ily file, and I just %include that file at the start of my
\paper definition.


I think it would be slightly cleaner to write an entire \paper{} block
in the .ily file and include the file on top level. Multiple paper
blocks will be combined as you’d expect them to.

I'll have to try that. I know I tried that with \header and it blew up 
me, which may be why I didn't try it with \paper.


Cheers,
Wol

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Re: 13th chord?

[Anthony Youngman]

On 26/02/17 13:55, Anthony Youngman wrote:

On 26/02/17 13:38, msk...@ansuz.sooke.bc.ca wrote:

On Sun, 26 Feb 2017, Anthony Youngman wrote:

EXCEPT.

This is *exactly* the scenario in which you will want my chord
transposition
code, and that doesn't make sense in a lyrics scenario.


Then they can use the existing code.


In which case, won't they get the existing problem? ie if they ask for
"C13" they will get "C 9 13 (A 9 13)" ?

It's a long time ago, but as far as I remember my code simply takes the
root of the chord, drops it by the capo setting, and then redoes the
chord name to put it after the correct pitch chord name. So if the
current code messes up, my capo code is going mess up, and mskala's
lyrics-based code just won't work, without him putting in a load of
extra stuff in to handle it.

Replying to myself - remember, you said the user shouldn't notice any 
difference. With my code, if you want to change the capo key, it's a 
one-character change at the start of the lily input file. With your 
lyrics-based code, I'm guessing you'll have to manually enter every 
single transposition in the first place, and then if you want to change 
the capo you'll have to go through them all again.


The reason I use lily is that I find it is very good at automating stuff 
that is difficult to do manually - like transposition! It feels to me 
like your code is asking for trouble.


Cheers,
Wol

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Re: 13th chord?

[Anthony Youngman]

On 26/02/17 13:38, msk...@ansuz.sooke.bc.ca wrote:

On Sun, 26 Feb 2017, Anthony Youngman wrote:

EXCEPT.

This is *exactly* the scenario in which you will want my chord transposition
code, and that doesn't make sense in a lyrics scenario.


Then they can use the existing code.

In which case, won't they get the existing problem? ie if they ask for 
"C13" they will get "C 9 13 (A 9 13)" ?


It's a long time ago, but as far as I remember my code simply takes the 
root of the chord, drops it by the capo setting, and then redoes the 
chord name to put it after the correct pitch chord name. So if the 
current code messes up, my capo code is going mess up, and mskala's 
lyrics-based code just won't work, without him putting in a load of 
extra stuff in to handle it.


Cheers,
Wol

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Re: 13th chord?

[Anthony Youngman]

On 26/02/17 11:32, Thomas Morley wrote:

2017-02-26 12:12 GMT+01:00 Anthony Youngman :

On 26/02/17 10:52, Thomas Morley wrote:



If the chordNameFunction (ignatzek-chord-names) does not do what we
want, we should improve it, but not drop a plethora of
lily-functionality.

And yes, ignatzek-chord-names is insufficient in the sense that it's
hard up to impossible to tweak ChordName-printing sufficiently without
rewriting major parts of it.


Just to throw another big spanner into the works ...

I wrote some code which I submitted to lilypond to handle guitar capos. So,
for example, if you said something like "\capo 3", when you entered a chord
of C, it printed the chord name as "C(A)". This is *normal* practice when
printing music to accompany singers - the piano score has the guitar chords
on it.

My code didn't get into lilypond proper (I was asked to make a load of
changes, and I couldn't cope - my scheme-fu wasn't up to it), BUT. You need
to be careful that any changes you make don't break that use case - even if
I didn't get it in, I'm sure somebody else will want it in future.

Cheers,
Wol


Do we have a tracker-issue for it?

I don't know. But I'm attaching the patches. I could dig in to it, but I 
suspect you just want the patches date-stamped 1st August (the others 
are probably draft versions).


I had it working on my system, so the code does run successfully, at 
least with the version of lilypond that was current at the time.


Cheers,
Wol
>From a3ecdace013082f319987bd7aa98aa54d9decd0b Mon Sep 17 00:00:00 2001
From: Wol 
Date: Wed, 20 Jul 2011 18:49:43 +0100
Subject: [PATCH 1/3] Add capo-handler function for guitar chords

---
 scm/chord-name.scm |   24 
 1 files changed, 24 insertions(+), 0 deletions(-)

diff --git a/scm/chord-name.scm b/scm/chord-name.scm
index 79b0189..6910044 100644
--- a/scm/chord-name.scm
+++ b/scm/chord-name.scm
@@ -170,3 +170,27 @@ FOOBAR-MARKUP) if OMIT-ROOT is given and non-false.
 	 (alist (map chord-to-exception-entry elts)))
 (filter (lambda (x) (cdr x)) alist)))
 
+(define-public (capo-handler pitches bass inversion context)
+  (let (chord-function (ly:context-property context 'chordNameFunction #f))
+(capo-pitch (ly:context-property context 'capoPitch #f))
+(if  (not (capo-pitch)) ;; if there's no capo pitch or no chord
+  (chord-function pitches bass inversion context) ;; call the chordNameFunction as of old
+  (let ((new-pitches   ;; else transpose the pitches and do the chord twice
+(map (lambda (p)
+  (ly:pitch-transpose p capo-pitch))
+  pitches))
+  (new-bass
+(and (ly:pitch? bass)
+  (ly:pitch-transpose bass capo-pitch)))
+  (new-inversion
+(and (ly:pitch? inversion)
+  (ly:pitch-transpose inversion
+  capo-pitch)))
+
+  (capo-markup (make-parenthesize-markup (chord-function new-pitches new-bass new-inversion context)))
+  (markup (chord-function pitches bass  inversion context))
+
+  (capo-vertical (ly:context-property context 'capoVertical #f))
+  (if (capo-vertical)
+(make-column-markup (list markup capo-markup))
+(make-line-markup (list markup (make-hspace-markup 1) capo-markup
-- 
1.7.3.4

>From 355b7eda2d9de45e355d60831bb7851731a4de36 Mon Sep 17 00:00:00 2001
From: Wol 
Date: Sat, 30 Jul 2011 23:36:17 +0100
Subject: [PATCH 1/5] final commit I hope

---
 lily/chord-name-engraver.cc   |4 ++--
 scm/chord-name.scm|   28 
 scm/define-context-properties.scm |2 ++
 3 files changed, 32 insertions(+), 2 deletions(-)

diff --git a/lily/chord-name-engraver.cc b/lily/chord-name-engraver.cc
index d0ced5a..2442cdb 100644
--- a/lily/chord-name-engraver.cc
+++ b/lily/chord-name-engraver.cc
@@ -124,8 +124,8 @@ Chord_name_engraver::process_music ()
 
   pitches = scm_sort_list (pitches, Pitch::less_p_proc);
 
-  SCM name_proc = get_property ("chordNameFunction");
-  markup = scm_call_4 (name_proc, pitches, bass, inversion,
+  SCM capo_proc = ly_lily_module_constant ("capo-handler");
+  markup = scm_call_4 (capo_proc, pitches, bass, inversion,
   context ()->self_scm ());
 }
   /*
diff --git a/scm/chord-name.scm b/scm/chord-name.scm
index 79b0189..035b213 100644
--- a/scm/chord-name.scm
+++ b/scm/chord-name.scm
@@ -170,3 +170,31 @@ FOOBAR-MARKUP) if OMIT-ROOT is given and non-false.
 	 (alist (map chord-to-exception-entry elts)))
 (filter (lambda (x) (cdr x)) alist)))
 
+(define-public (capo-handler pitches bass inversion context)
+  (let ((chord-function
+  (ly:context-property context 'chordNameFunction 'jazz-chord-names))
+(capo-pitch (ly:context-property context 'c

Re: 13th chord?

[Anthony Youngman]

On 26/02/17 12:24, msk...@ansuz.sooke.bc.ca wrote:

On Sun, 26 Feb 2017, Thomas Morley wrote:

If the chordNameFunction (ignatzek-chord-names) does not do what we
want, we should improve it, but not drop a plethora of
lily-functionality.


I'm not proposing to "drop a plethora of lily-functionality" but only to
provide something that will be useful in the very common case of people
wanting to print chord names and wanting the output to match the input.
The proposed new feature would not be a modification of chord mode nor of
ChordNames, but a third thing separate from either of those two.  I
imagine it would make sense for most of its code to derive from the code
currently used for lyrics, but that fact would preferably NOT be visible
to users.


EXCEPT.

This is *exactly* the scenario in which you will want my chord 
transposition code, and that doesn't make sense in a lyrics scenario.


Cheers,
Wol

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Re: 13th chord?

[Anthony Youngman]

On 26/02/17 10:52, Thomas Morley wrote:

2017-02-26 2:16 GMT+01:00  :

On Sun, 26 Feb 2017, David Kastrup wrote:

To me it would seem that the default mode of operation should be for
them to have matched rules where feasible, in order to have least
element of surprise.


I agree, but A. it may not be feasible in some important cases, and
B. even matched rules wouldn't really solve the problem, because users
would still have to explain to both the input and output systems their
own preferred conversion between note sets and displayed chord symbols.
(It doesn't help that the standard and traditional musical rules are
*screwy* and the nonstandard rules many people want to use are even
screwier.)

Users want what they type to match what is displayed, even when it doesn't
follow the default rules and possibly even when it doesn't follow any
rules.  For the common use case of chord mode being used solely to
generate notes for ChordNames, and ChordNames getting its notes solely
from chord mode, we don't really need the notes at all.  Just turning the
user's input directly into markup would make all the common problems with
chords disappear.

I've actually used lyrics to print chord names sometimes when I just
couldn't get "proper" ChordNames contexts to do what I wanted.  It seems
like lyrics are 80% of the way to the markup idea I'm describing.

--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/


I strongly disagree.

\chordmode is an input mode.
It can be used for printing notes (Staff), chord-names (ChordNames)
and fret-diagrams (FretBoards) and for midi, as David already pointed
out.

If the chordNameFunction (ignatzek-chord-names) does not do what we
want, we should improve it, but not drop a plethora of
lily-functionality.

And yes, ignatzek-chord-names is insufficient in the sense that it's
hard up to impossible to tweak ChordName-printing sufficiently without
rewriting major parts of it.


Just to throw another big spanner into the works ...

I wrote some code which I submitted to lilypond to handle guitar capos. 
So, for example, if you said something like "\capo 3", when you entered 
a chord of C, it printed the chord name as "C(A)". This is *normal* 
practice when printing music to accompany singers - the piano score has 
the guitar chords on it.


My code didn't get into lilypond proper (I was asked to make a load of 
changes, and I couldn't cope - my scheme-fu wasn't up to it), BUT. You 
need to be careful that any changes you make don't break that use case - 
even if I didn't get it in, I'm sure somebody else will want it in future.


Cheers,
Wol

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Re: LilyPond logo?

[Anthony Youngman]

The problem is the black lilyleaf looks like pacman. I notice that the 
more the split in the leaf is rotated to point down, the less it looks 
like a mouth (so the less it looks like pacman). The alternative - two 
leaves - feels unnatural.


Cheers,
Wol

On 05/08/16 10:05, Malte Meyn wrote:



Am 05.08.2016 um 10:28 schrieb Wols Lists:

On 05/08/16 05:15, tyronicus wrote:

The vectorized image looks very good. It'd be nice, though, to have
some sort
of "icon" logo in true black and white. Maybe something like the
attached?
It's an Inkscape svg if anyone wants to mess with it.

lp.png 
lp.svg 


Ouch! Sorry, my reaction is "Pacman!"

It would be better in outline.


Are you sure? My first try was with outlined leafs but the contrast
“white petals vs. black leaf” looks much more convincing IMO.

Here are some experiments of mine. logo1.svg is the one I used in the
score, logo_outline.svg is the outline version, logo2/3/4.svg are some
attempts to make it simpler.


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Re: LilyPond logo?

[Anthony Youngman]

I like the first and last ones. The first is closer to the web graphic, 
but I think I prefer the last one.


I still can't get pacman out of my mind ... you don't get that effect 
with the colour graphic because the colours are wrong, but as soon as it 
goes b&w ...


Cheers,
Wol

On 05/08/16 13:40, Pierre Perol-Schneider wrote:

Hi All,

Here's tests with the different proposition.
I've added mine at last but I'm not satisfied yet.

Cheers,
Pierre



2016-08-05 14:36 GMT+02:00 Alexander Kobel mailto:a-ko...@a-kobel.de>>:

Malte,

I think you did a really nice job there. However, I can't help but
be reminded of

https://de.wikipedia.org/wiki/Datei:3_schwarze_Punkte_auf_gelbem_Grund_2.svg


by the dots in the center... (For those in non-German-speaking
countries: that's the symbol blind people wear in public as a
warning for other participants in traffic.)

Looking at the "original" picture from a distance, I perceive the
center as only one colored patch. Would you mind trying a version
with just one dot in the center?


Best,
Alexander



On 2016-08-05 14:01, Malte Meyn wrote:

Am 05.08.2016 um 13:52 schrieb Marc Hohl:

Am 05.08.2016 um 11:38 schrieb Werner LEMBERG:


Here are some experiments of mine.


Very nice!

logo1.svg is the one I used in the score,
logo_outline.svg is the
outline version, logo2/3/4.svg are some attempts to
make it simpler.


I like logo3 most.


+1


My favourite is logo2, and I like tyronicus’s idea of only one
leaf with
the typical gap and thus made logo4.

But maybe less is more and two flower layers are enough; so here
is a
combination of logo3 and logo4 (only two flower layers -> less
detail,
only one pad but with gap -> more typical).


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Re: PDF author metadata

[Anthony Youngman]

On 07/07/16 19:02, David Wright wrote:

BTW one of the odd "assumptions" made in LP is in that variable called
poet. What about compositions whose lyrics are prose?


Of which I guess there are very few :-) "Jerusalem" is a pretty classic 
example - about the only one I can think of.


Anything with metre is poetry - that includes pretty much all 
Shakespeare, for example. It's difficult to set words that don't have metre.


Cheers,
Wol

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Re: PDF author metadata

[Anthony Youngman]

On 07/07/16 08:38, Christopher R. Maden wrote:

On 07/07/2016 02:23 AM, David Kastrup wrote:

Federico Bruni  writes:

Who should be in your opinion the author of a LilyPond score PDF? The
composer or the typesetter?


Usefulness does not come into play here as long as there is a standard.
The PDF standard states:

Key  TypeValue
Author   text string (Optional) The name of the person who 
created the document.


“[T]he person who created the document” is extremely ambiguous. Is 
“the document” the composition, the score, the arrangement... ?  The 
philosophers with whom I work can (and do!) spend years debating these 
things.


None of those. The document is the computer file. If I hit "new" in MS 
Word, it is my name that gets plonked in the "author" field of *that* 
document. The fact that I *may* be copying *another* document is 
irrelevant - what I am copying is something else - a different document. 
I created the current document, I am the author. (Unfortunately, the 
word author implies creativity, but then, they did create the document :-)


The shortest realistic answer is that whoever creates the PDF decides 
who the “author” of that PDF is; if they don’t care enough to credit 
someone else, then it’s them, or no one at all.


Sounds like they should have used the word "scribe", not "author". Only 
snag is, they would then have had people asking "what is a scribe?". But 
think of a shaman dictating a story to a western collector. The shaman 
is the story-teller, the westerner (the scribe) is the author of the book.


Cheers,
Wol

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Re: ANN: Frescobaldi 2.17.1

[anthony . t . fok]

Thank you Wilbert for such a wonderful Christmas and New Year's gift!
Frescobaldi + LilyPond is a wonderful combo that can do amazing things with 
music scores!

Just a quick note to say that Frescobaldi 2.17.1 is now available for
Debian and Ubuntu's development branches:

 * https://packages.debian.org/sid/frescobaldi
 * http://packages.ubuntu.com/vivid/frescobaldi

Merry Christmas Season and Happy New Year to all!

Anthony

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Re: Is there a place to have my score analyzed?

[Anthony Smitha]

That was it!  I did have \language "english".  Once I removed that, the
code worked just fine.  Thank you!  :)

God Bless!
Anthony

http://www.linkedin.com/in/anthonysmitha

http://gleefullyfrolics.blogspot.com
http://gettinginmymind.blogspot.com
http://crazyabouttruth.blogspot.com/


On Wed, May 14, 2014 at 8:46 AM, Knute Snortum  wrote:

> Just a guess: do you have a line like '\language "english:' ?  If so,
> either delete the line or enter g-sharp as "gs" and g-flay as "gf".
>
> If that's not it, why not attach the file or create a small example that
> illustrates the problem.  (Creating a small example is prefered.)
>
>
> Knute Snortum
> (via Gmail)
>
>
> On Wed, May 14, 2014 at 5:39 AM, phantom.seraphim <
> phantom.serap...@gmail.com> wrote:
>
>> I am running into what seems to be a very simple issue, but I cannot
>> figure
>> it out.  I am working on a score in C major, and when I place a "gis" to
>> get
>> a G-sharp, the score generation throws an error and the note comes up
>> blank.
>> If I change it to a "g" to make it a G-natural, it works fine.  It also
>> does
>> not work if I make it "ges" for g-flat.  I have read the manuals to make
>> sure that I am entering it correctly, and I appear to be doing so.  Can
>> someone look at my work and tell me if I've done something wrong?
>>
>>
>>
>> --
>> View this message in context:
>> http://lilypond.1069038.n5.nabble.com/Is-there-a-place-to-have-my-score-analyzed-tp162399.html
>> Sent from the User mailing list archive at Nabble.com.
>>
>> ___
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>>
>
>
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Re: minor chords (and a possible transition to a new topic)

[Anthony]

On 22/03/2014 07:50, Simon Albrecht wrote:


Am 22.03.2014 02:45, schrieb Anthony Youngman:


And I don't tend to dig deep into all the "esoteric" settings - there
are so many of them that I don't understand, that I tend to shy away
from them. I shouldn't, but I'd rather just use standard bells and
whistles - when I need to use all sorts of fancy over-ride tricks to
achieve effects that I see in pretty much *all* the printed music I
play, it puts me off.

Well, redefining paper variables is actually not really advanced.
If you want to understand better what LilyPond does and how you can 
alter the output, you’ll be well advised to read in the Notation 
Reference on the website and collect what information you need – in 
most cases there is an explanation there, except for more extravagant 
wishes. Of course this costs time until you have an overview, but it 
will reward the effort. 


Well, I've put in a fair bit of time and effort over the years. The 
problem, as always, is finding time to play, and also remembering what 
worked last time :-) Many moons ago, I proofread the entire main manual 
about three times! I've dug into the code and tried to contribute. 
Unfortunately, like most power tools, lily is not very friendly to light 
users - that's just the nature of the beast.


That said, I think now I know about Kieren's "page-break-permission = 
##f", coupled with putting "page = 1" in the right place, I think it'll 
work fine. Then I'll have to see if those two work together to force two 
pages ... :-)


I need to find some time to play ... :-)

Cheers,
Wol
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Re: minor chords (and a possible transition to a new topic)

[Anthony Youngman]

On 19/03/14 18:13, Kieren MacMillan wrote:
>> there is no setting that says "force everything onto one page, beauty be 
>> damned"
> 
> Does
> 
> \override Score.NonMusicalPaperColumn.line-break-permission = ##f
> 
> not work for you?
> 
> Cheers, Kieren.

m  not met that.

My first reaction though, is why would what appears to be a line-break
setting affect the number of pages?

And I don't tend to dig deep into all the "esoteric" settings - there
are so many of them that I don't understand, that I tend to shy away
from them. I shouldn't, but I'd rather just use standard bells and
whistles - when I need to use all sorts of fancy over-ride tricks to
achieve effects that I see in pretty much *all* the printed music I
play, it puts me off.

That said, I'll play with this and see what it does - I've got a piece
I've been working on that I had to muck about with and force.

Oh - and sorry Phil, "page-count = 1" didn't work. Although iirc I put
it in \layout{} not \paper{}. Unless that was the wrong place to put it?
That's another place for confusion - I get the impression that some
settings work fine in either, others only seem to work in the layout
section, maybe others only work in the paper section?

Cheers,
Wol

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Re: minor chords (and a possible transition to a new topic)

[Anthony]

On 17/03/2014 10:40, Robert Schmaus wrote:

But there's another thing that surprises me in this discussion: I always thought that 
Lilypond is mainly being used and intended for "classical" (exact) music.
I think it's always been intended to produce "beautiful music for any 
usage requirement". The snag is that that is actually very hard. I 
regularly use it for Band parts, and the difference between one and two 
pages is the difference between playable and unplayable music. My gripe 
is there is no setting that says "force everything onto one page, beauty 
be damned".


But hey. At the end of the day, lily does a very good job :-)

Cheers,
Wol

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Embeddable MIDI

[Anthony]

Invoking lilypond-book allows me to generate HTML with lilypond tags into
HTML with PNG images. I've got that bit down. But is there a way to embed
the MIDI into the document? Using \midi with generate the midi file but it
doesn't embed it into the HTML document.

Also, on a less important matter, is there a way to change where and what is
generated? Meaning, I only need PNG images embedded into HTML. But I don't
need eps, tex, texi, ly, ect. Each lilypond snippet seems to go into a
directory XX. Could I change this and put them all into the same directory?


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Ossia Staves

[Anthony Vershov]

I've been working on replicating an edition of the Fourth Concert by Georg
Golterman (see attachment "fourth_concert.ly").

This particular edition requires, at the end of the first part, two smaller
ossia staves that are aligned directly above their respective main staves.
I've managed to successfully recreate these two ossia staves on their own
in a separate document (see attachment "ossia_staves.ly").

However, when I insert the code of ossia_staves.ly directly at the end of
the fourth_concert.ly document, the output looks nothing like it does in
the ossia_staves.ly document. The notes are all several octaves higher, a
new staff is created, and the ossia staves are misaligned. They look fine
in their own document, but when I put the code into the existing document,
it becomes a disaster.

Does anybody know how I can successfully recreate the two ossia staves as
they appear in the ossia_staves.ly document in the
fourth_concert.lydocument instead; i.e. how I can insert them into the
fourth concert
without the output going completely haywire? I have no idea what the
problem is and nothing I have tried has worked.

Any help would be appreciated!

Thanks,

AJ


fourth_concert.ly
Description: Binary data


ossia_staves.ly
Description: Binary data
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Re: Marking a chord line as capo 3

[Romel Anthony S . Bismonte]

David Kastrup  gnu.org> writes:



> 

> Johan Vromans  squirrel.nl> writes:

> 

> > "Romel Anthony S. Bismonte"  hotmail.com> writes:

> >

> >> I have two chord lines above my music line, and I was wondering how I

> >> can mark the upper chord line as being "Capo 3" for the guitar. In

> >> lyrics, you can set the "stanza" of a line--is there something similar

> >> to that?

> 

> Anything that \transposition can't do?

> 



Hello,



Actually the two chord lines are set up thus...



origchords = \chordmode {

  s8 f4. d:min f/c bes a:min g:min c2.

% ...

}



harmonies = \chordmode {

  \override ChordNames.ChordName #'font-size = #-1

  \origchords

}



harmoniescapothree = \chordmode {

  \set stanza = \markup \normal-text \sans "Capo 3"

  \override ChordNames.ChordName #'font-size = #-1

  \override ChordNames.ChordName #'font-series = #'bold

  \transpose f d {

\origchords

  }

}



So I can change the capo number (for example) to Capo 5, then change the 
transpose value from (f  d) to (f  c). This probably breaks the MIDI but here 
my target is only the printed score. These are all great points, thanks.



As an aside, I've been using the gmane interface to post these messages and 
replies; sending them through email (at Hotmail) doesn't seem to work (it gives 
me a Delivery Status Notification - Failure.) I tried logging on to the mailing 
list website, and was successful. I even changed some settings. But sending to 
the default address (lilypond-user@gnu.org) doesn't work. If I need to post 
this as another topic, please tell me and I will. Thanks in advance.



Romel


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Re: Marking a chord line as capo 3

[Romel Anthony S . Bismonte]

Thomas Morley  googlemail.com> writes:



> 2012/12/27 Romel Anthony S. Bismonte  hotmail.com>:



>>I have two chord lines above my music line, and I was wondering how I can mark

>>the upper chord line as being "Capo 3" for the guitar. In lyrics, you can set

>>the "stanza" of a line--is there something similar to that?



> Hi,

> 

> putting the "Stanza_number_engraver" into ChordNames-context will work:

> 

> \version "2.16.1"

> 

> \layout {

>   \context {

>  \ChordNames

>  \consists "Stanza_number_engraver"

>   }

> }



Thanks, this works very well. I was thinking about using "text-interface" but I 

realized that was going in the wrong direction.



Additionally, I found that I can change the capo 3 chord line so that it stands 

out from the other line by bolding it thus:



\override ChordNames.ChordName #'font-series = #'bold



where the chords actually are.



Thanks again for the help.



Romel


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Marking a chord line as capo 3

[Romel Anthony S . Bismonte]

Hello,



I have two chord lines above my music line, and I was wondering how I can mark 
the upper chord line as being "Capo 3" for the guitar. In lyrics, you can set 
the "stanza" of a line--is there something similar to that?



Something like:



Capo 3:  DBm ...

 FDm ...



Thanks in advance.



Romel


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Re: Why are the chords printed below the staff in this example?

[Romel Anthony S. Bismonte]

From: "Alexander Kobel" 

> Thus, take them out to the same nesting level as Staff:
>
> chd = \chordmode { c1 a:m }
> mus = \relative c'' { c4 d4 e2 | a4 b4 c2 }
> lyr = \lyricmode { See the E, A bu -- sy }
>
> \score {
>   <<
> \new ChordNames \chd
> \new Staff <<
>   \new Voice = "one" \mus
> >>
> \new Lyrics \lyricsto "one" \lyr
>   >>
> }
>
>
> HTH,
> Alexander
>

Aha! This would not have occurred to me, but now that I see it, no other 
configuration makes sense. Of course chord names live outside of the staff. 
Thanks for this fix; I will apply it right now. One follow-up question that 
might sound obvious: What do the double angle brackets signify? Do they 
group contexts together so they appear together? Is it something more 
subtle?

Again, many thanks. I was pulling my hair out over this.

Romel

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Why are the chords printed below the staff in this example?

[Romel Anthony S. Bismonte]

Hi All,

When I render the following music on Lilypond, I get the staff on top, the 
chords below the staff, and the lyrics below the chords. This is unexpected 
behavior, as I wanted the chords above the staff (as indicated by the order of 
the staff elements in \score). What am I missing in this example?

% -
\version "2.12.0"

chd = \chordmode { c1  a:m }
mus = \relative c'' { c4 d4 e2 | a4 b4 c2 }
lyr = \lyricmode { See the E, A bu -- sy }

\score {
  \new Staff <<
\new ChordNames \chd
\new Voice = "one" \mus
\new Lyrics \lyricsto "one" \lyr
  >>
}
% -

I am running Lilypond 2.12.0. Perhaps there has been a fix for this issue that 
I would receive if I upgrade to the latest stable?

Any help would be appreciated. Thanks in advance.

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Re: wrong relative positions in snippet 632 when calling it nrepeatedly

[Anthony W. Youngman]

In message <27135776.p...@talk.nabble.com>, -Eluze  
writes


hi


Replying to a week old post ... but I can't see any other replies ...


when i run the code below with snippet 632, the c' of the 2nd line - and the
following notes - are an octave to high - i would expect it to behave like
when you use the same code without *\bbarre #…*

\version "2.13.10"
\relative c'{
  \clef "G_8" \stemUp
  \bbarre #"III" { 16[ c' d c d 8] }
  \bbarre #"III" { 16[ c' d c d 8] }
}

did i misunderstand something?
btw, this happens also with version 2.12.3


I note you're using \relative - make sure you know "relative to what". 
And I don't know what bbare is doing ...


thanks!


If you need some way of "fixing" things getting too high (and it doesn't 
look particularly appropriate here, unless you put "\bbarre #"III" { a'>16[ c' d c d 8] }" into a snippet variable) you might find the 
"resetOctave" function handy. It might have made its way into the docs, 
or you might have to search the list archive (it'll be in an ancient 
post by me or Han-Wen).


Cheers,
Wol
--
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Re: simple editor for windows

[Anthony W. Youngman]

In message , Tim Slattery 
 writes

"Anthony W. Youngman"  wrote:


My favourite editor is PFE (programmers file editor).



Unfortunately, last I know, it was abandonware, but it's still a simple
nice editor. Written by somebody at Lancaster Uni iirc.


Yes, good stuff, and I used it for a long time. Unfortunately, it
doesn't know anything about UTF-8, and therefore is unsuitable for
Lilypond files.


But I use it for them all the time ...

Still, I don't know very much about UTF-8 and pretty much only use the 
standard ASCII character set.


Cheers,
Wol
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Re: simple editor for windows

[Anthony W. Youngman]

In message 
<8c1eed9b0912160008v6b676a9fida41a99a8f72f...@mail.gmail.com>, Stefan 
Thomas  writes


Responding very late ...


Dear community,
I'm searching for a simple text-editor for windows. It is for the computer in
my music-school.
It is an old machine and lilypondtool, because it requires java, doesn't
work on it.
Vim and emacs would be too complicated for my dear colleagues.
And with the very simple editor that comes with the lilypondversion of
windows, I have the problem, that it shows the whole file (that I've written
with Frescobaldi) in one line.
Does someone of You have an recommandation?


My favourite editor is PFE (programmers file editor).

Unfortunately, last I know, it was abandonware, but it's still a simple 
nice editor. Written by somebody at Lancaster Uni iirc.


You should still be able to find it, and it's a small self-contained 
installable. Only thing is, if you want fancy features I don't know if 
it can do them - I don't use them.


Cheers,
Wol
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Re: \set vs \override

[Anthony W. Youngman]

In message <4b0bc390.1080...@internode.on.net>, Nick Payne 
 writes

Carl Sorensen wrote:


On 11/24/09 2:57 AM, "Nick Payne"  wrote:



James Worlton wrote:


Hi!


In 2.13.6 I did a project and used:
\set Score.markFormatter = #format-mark-box-alphabet
and I got the boxes and the letter I (all in one command!)


Thanks for that. That particular value for set
(format-mark-box-alphabet) doesn't seem to appear anywhere in the
documentation - or at least, I can't find it in the PDF documentation,
which is what I use.



This must be a bug in the documentation.

Nick, could you figure out where it should go, and write a bit of text and a
simple example, so we can add it to the docs?

Well I only have/use the PDF documentation, and the section on 
Rehearsal marks is on p.74 of the 2.13.7 Notation reference. After the 
initial example, it presently says:


==
The letter ‘I’ is skipped in accordance with engraving traditions. 
If you wish to include the

letter ‘I’, then use

\set Score.markFormatter = #format-mark-alphabet
==


Following up a bit late, I know ...

If you look back at when format-mark-alphabet first appeared, you'll 
find I featured prominently (and ineptly :-)


I wanted the functionality, tried to write it and got into a mess. 
Somebody else kindly added it for me, along with various other features 
such as using bar numbers as rehearsal marks.


And as part of that, I understand that ALL combinations of "mark on its 
own", "mark in a circle" and "mark in box" crossed with bar-number, 
number, letter and alphabet were created.


I can't remember the scheme file name, but iirc they are all in the same 
file, if anyone wants to check, but the documentation should say that 
ANY and ALL combinations of mark and mark-formatting should work, and if 
they don't it's a bug.


Cheers,
Wol
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Re: Codas / Trios

[Anthony W. Youngman]

In message <200910251431550...@1682723281>, David Pounder 
 writes




--- Original Message ---
From: Kieren MacMillan 
To: David Pounder 
Sent: 25.10.09, 13:28:05
Subject: Re: Codas / Trios

Hi David,

> The ideal solution would be for da capo, dal segno and codas to be
> handled (somehow) by the \repeat and \unfoldRepeats constructs

Agreed.

> wishful thinking?

Not really... this is open source software!  ;)
1. Anything that can be done "manually" can be automated with
Scheme.
2. Anyone could provide a patch to the base code that would do
what is necessary without a macro.

The only question is, who will write the macro(s) and/or patch(es)?

Cheers,
Kieren.


I suppose I asked for that :)

I'll go and read the contributor's guide, but I think I may be out of 
my depth as I haven't touched functional programming for decades...


But from my (the OP) point of view, that's quite likely not much use ... 
because the piece I'm setting it isn't a coda. It's just that the coda 
example does pretty much what I want.


To summarise my current problem, I want to stop the staff, put text 
where the staff would be, then resume the staff. I've got it working 
roughly as I want, but because the staff takes priority I need to put 
spacer rests in to make room for the text. And if lily compresses the 
music to make it fit, suddenly there's no room for my text and it gets 
bumped out of the way :-(


Actually, I think it's the clef that's the problem, when I put a clef 
in, it collides with the text and bumps the text out of the way. 
Actually, that's probably why \longTextOn didn't work - it's probably 
not meant to work with clefs! Is there any setting that will make text 
take priority over a clef and push the clef out the way?


Cheers,
Wol
--
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Re: Codas / Trios

[Anthony W. Youngman]

In message , Anthony W. Youngman 
 writes


I'm surprised ... after a bit of work it got me where I needed to be! 
Thanks very much.


I'm still not totally happy, in that because I separate layout and 
notes, I now need to insert dummy bars all over the place, but at least 
it looks like I want.


Mmmm - I'm not at all happy now I've played with it ... is there any way 
I can get the text to take the space it needs? (rather than using spacer 
notes?) I've tried \textLengthOn - that doesn't seem to work.


The trouble with using spacers to create the space is (a) it doesn't 
always work, and (b) if you separate notes and layout then the space 
required will vary from part to part - on a march card you can't afford 
to waste space!


Next job - move text inside a volta alternative rather than above it 
... I think I've seen how to do it, all I need to do is find it again 
...


Anyways, I attach the modded snippet so anybody who wants it can see 
what I've done - it's a pretty typical layout on a march card ...


Cheers,
Wol


[ A MIME text / plain part was included here. ]




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Re: \fatText - 2.13.6

[Anthony W. Youngman]

In message 
<11cc7c4f0910241809o5470e174g979b503fc2415...@mail.gmail.com>, Andrew 
Hawryluk  writes

The command was renamed for version 2.12:

\fatText -> \textLengthOn
\emptyText -> \textLengthOff

The "on/off" naming is more consistent with other commands. You may
also want to checkout
http://lilypond.org/doc/v2.12/Documentation/topdocs/NEWS.html for
other commands that were changed at the same time.

Thanks. I thought I was using the 2.12 documentation, so I checked ... 
2.10. Oops.


Cheers,
Wol
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\fatText - 2.13.6

[Anthony W. Youngman]

I've just tried to use this, and it's failed with "unrecognised escaped 
string" (or whatever the error is).


Is this defined in some file I've got to include, or what's wrong?

Cheers,
Wol
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Re: Codas / Trios

[Anthony W. Youngman]

In message , Anthony W. Youngman 
 writes
In message <87k4ylfdzl@lola.goethe.zz>, David Kastrup  
writes

"Anthony W. Youngman"  writes:


I'm sure I've seen it somewhere, but I can't find it in the manuals,
snippets, or searching the lists :-(

I'm trying to do what is very typical for my sort of music (band
parts). Namely, end the line with a double bar (often with a segno or
coda sign). Then the next line starts with the word "CODA" or "TRIO"
before the music starts again. Has anybody got an example I can crib?
I've found one of my examples using stop/start staff and cadenza, but
it's a mess :-(


http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Repeats#
Repeats>

Scroll down to "positioning segno and coda".  Personally, I find it
appalling that you have to plaster together markup like that without any
predefined makros.  In particular since this will not be reflected in
the MIDI output.

Thanks. I'd seen that, but didn't see how it applied (not least because 
part of the example is hidden to the left of the left margin!). I'll 
have to play with it.


I need the line break BEFORE the blank space, not after. I need the 
text LEVEL with the staff, not above. It would be nice if the double 
bar was clean, not with lines sticking out of it. And from my previous 
attempt, I ended up with the clef and key signature not moving, so my 
line had them hanging in empty space before the start of the staff :-(


Thanks anyway. I'll play with that and see where it gets me (not that 
far, I expect :-(


I'm surprised ... after a bit of work it got me where I needed to be! 
Thanks very much.


I'm still not totally happy, in that because I separate layout and 
notes, I now need to insert dummy bars all over the place, but at least 
it looks like I want.


Next job - move text inside a volta alternative rather than above it ... 
I think I've seen how to do it, all I need to do is find it again ...


Anyways, I attach the modded snippet so anybody who wants it can see 
what I've done - it's a pretty typical layout on a march card ...


Cheers,
Wol

{ 
  \clef treble
  \key g \major
  \time 4/4
  \relative c'' {
\repeat unfold 2 {
  | c4 c c c
}

% Set segno sign as rehearsal mark and adjust size if needed
% \once \override Score.RehearsalMark #'font-size = #3
\mark \markup { \musicglyph #"scripts.segno" }
\repeat unfold 2 {
  | c4 c c c
}

% Set coda sign as rehearsal mark and adjust size if needed
\once \override Score.RehearsalMark #'font-size = #4
\mark \markup { \musicglyph #"scripts.coda" }
\repeat unfold 2 {
  | c4 c c c
}

% Should Coda be on anew line?
% Coda NOT on new line: use \nobreak
% Coda on new line: DON'T use \nobreak
% \noBreak

\bar "||"

% Set segno sign as rehearsal mark and adjust size if needed
\once \override Score.RehearsalMark #'break-visibility = 
#begin-of-line-invisible
% \once \override Score.RehearsalMark #'font-size = #3
\mark \markup { \musicglyph #"scripts.segno" }

% Here begins the trickery! 
% \cadenzaOn will suppress the bar count and \stopStaff removes the staff 
lines.
\cadenzaOn 
  \stopStaff 
\once \override Staff.KeySignature  #'stencil = ##f
\once \override Staff.Clef  #'stencil = ##f
\break
% Some examples of possible text-displays 

% text line-aligned
% ==
% Move text to the desired position
% \once \override TextScript #'extra-offset = #'( 2 . -3.5 )
% | s1*0^\markup { D.S. al Coda } }

% text center-aligned
% 
% Move text to the desired position
% \once \override TextScript #'extra-offset = #'( 6 . -5.0 )
% | s1*0^\markup { \center-column { D.S. "al Coda" } }

% text and symbols center-aligned
% ===
% Move text to the desired position and tweak spacing for optimum text 
alignment
%\once \override TextScript #'extra-offset = #'( 8 . -5.5 )
\once \override TextScript #'word-space = #1.5
%\once \override TextScript #'X-offset = #8
%\once \override TextScript #'Y-offset = #1.5
\once \override TextScript #'Y-offset = #-0.5
| s1*0^\markup { \center-column { "CODA" } }

% Increasing the unfold counter will expand the staff-free space
%\repeat unfold 1 {
%  s4 s4 s4 s4
  \bar ""
%}
% Resume bar count and show staff lines again
 \startStaff
   \cadenzaOff
   
   % Should Coda be on new line?
   % Coda NOT on new line: DON'T use \break
  

Re: Codas / Trios

[Anthony W. Youngman]

In message <87k4ylfdzl@lola.goethe.zz>, David Kastrup  
writes

"Anthony W. Youngman"  writes:


I'm sure I've seen it somewhere, but I can't find it in the manuals,
snippets, or searching the lists :-(

I'm trying to do what is very typical for my sort of music (band
parts). Namely, end the line with a double bar (often with a segno or
coda sign). Then the next line starts with the word "CODA" or "TRIO"
before the music starts again. Has anybody got an example I can crib?
I've found one of my examples using stop/start staff and cadenza, but
it's a mess :-(


http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Repeats#Repeats>

Scroll down to "positioning segno and coda".  Personally, I find it
appalling that you have to plaster together markup like that without any
predefined makros.  In particular since this will not be reflected in
the MIDI output.

Thanks. I'd seen that, but didn't see how it applied (not least because 
part of the example is hidden to the left of the left margin!). I'll 
have to play with it.


I need the line break BEFORE the blank space, not after. I need the text 
LEVEL with the staff, not above. It would be nice if the double bar was 
clean, not with lines sticking out of it. And from my previous attempt, 
I ended up with the clef and key signature not moving, so my line had 
them hanging in empty space before the start of the staff :-(


Thanks anyway. I'll play with that and see where it gets me (not that 
far, I expect :-(


Cheers,
Wol
--
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Codas / Trios

[Anthony W. Youngman]

I'm sure I've seen it somewhere, but I can't find it in the manuals, 
snippets, or searching the lists :-(


I'm trying to do what is very typical for my sort of music (band parts). 
Namely, end the line with a double bar (often with a segno or coda 
sign). Then the next line starts with the word "CODA" or "TRIO" before 
the music starts again. Has anybody got an example I can crib? I've 
found one of my examples using stop/start staff and cadenza, but it's a 
mess :-(


Cheers,
Wol
--
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Re: slurs and bars in vocal music

[Anthony W. Youngman]

In message , Kieren 
MacMillan  writes

Hi,


Sorry, no chance - "this is common practice since Bach,
and I as a seasoned choir leader" yadda yadda...


Wow... a closed-minded, backwards-thinking choral director. There's a 
first time for everything, I guess!  ;)



He's very much convinced that his "standard" is much easier to read


All evidence — written and anectodal — that I have encountered, as 
well as my own experience (as composer, conductor, singer, and 
performer), strongly disputes that old wives' tale.


Don't forget the "familiarity" principle. If he's only ever sung, in 
old-fashioned choirs that used that standard, then he'll have no trouble 
with it.


Me - I play the trombone as you know. I switch between treble, tenor and 
bass clef as required. But nowadays I mostly read bass clef ONLY (in a 
concert/military band the trombone can read either). The only time I 
ever read treble from choice, is when I'm playing in a brass band where 
it's all treble.


The point is, which standard it is is irrelevant, It's when you chop and 
change that makes life difficult (if I get a treble part at concert band 
I'll often try and play it in bass clef :-).


For the record, does he also want you to use the old Novello 
"backwards eighth-note rest" for quarter rests?
I mean, that was also the "common practice since Bach" — but people 
[wisely] decided that a *real* quarter rest is less confusing to read.


Is that a Novello thing? I still meet it quite a lot in old parts, 
especially marches. It's probably a B&H thing as well. It's not THAT 
hard, once the shock of hitting the things has worn off :-)


Cheers,
Wol
--
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Re: mugshots for web page? [WAS: The LilyPond Report, again!]

[Anthony W. Youngman]

In message <1252345554.16636.3.ca...@heerbeest>, Jan Nieuwenhuizen 
 writes

Or what about stealing a creative idea from

  http://www.fotosearch.com/photos-images/anonymous.html

such as the profile.

Greetings,
Jan.


I'd just use the picture of me by E. H. Shepard, except I haven't done 
anything to get me a place on that list. I can't think of anything for 
you, though, unless you can find a picture of your place on the Round 
Table? That might be a good one.


Cheers,
Wol
--
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Re: volta repeats with alternatives

[Anthony W. Youngman]

In message <4a68a0ff.7040...@ultrasw.com>, Paul Scott 
 writes
Is there a setting or something to do this automatically? Why isn't 
it done by default anyway? (btw: the override command is just used to 
demonstrate the problem, I only need the measure numbers at the 
beginning of each line.)


This has been discussed here before.  This is the way LilyPond works. 
Lily's way is consistent with many printed scores even though your way 
is sometimes done.


There's a third way too ... I sometimes come across pieces where - let's 
say - an eight bar repeated phrase is counted as sixteen bars. Usually 
because some other part has the repeat written out in full.


But yes - the lilypond way is the way I normally see music - I almost 
never see it where two bars have the same number. Why would you do that? 
The main reason for bar numbers is, surely, for the conductor to be able 
to accurately identify a bar during a rehearsal. How is an ambiguous bar 
number going to help? What use are bar numbers if they are ambiguous?


Cheers,
Wol
--
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Re: Transpose Command

[Anthony W. Youngman]

In message 
<7958d8c70907061548m4a1d58adocc98552164aa2...@mail.gmail.com>, Francisco 
Vila  writes

I don't know how it works, but can imagine that the transpose function
should be *much* more clever than it currently is, to realize itself
it is inside a relative block. So it leaves the user with the task of
doing it manually whenever needed.


Actually, as I understand it (I may be wrong) it CAN'T be cleverer. The 
problem is the confusion between note NAMES and note PITCHES.


When a text file is parsed by lilypond, it dumps a stream of note NAMES 
into lilypond. "relative" reads that list of NAMES and converts it into 
PITCHES. "transpose" on the other hand needs to work on PITCHES so if it 
is fed a stream of NAMES, it converts them to pitches (thinking in 
absolute mode) itself.


That's why sticking a transpose inside a relative messes up - by the 
time the note gets to "relative" it's already been converted to a pitch 
by "transpose", so "relative" doesn't have a name to work with. So 
relative just feeds the pitch straight through - unaltered.


Cheers,
Wol
--
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Re: new website: draft 3

[Anthony W. Youngman]

In message <4a4e048f.6030...@thenotesetter.com>, David Stocker 
 writes


Another "native English" improvement ...


Q: This [text interface] seems to be rather limited, why should I
consider using this program without a GUI?

A: Take a look to our nice examples [link to the nice examples page]
and judge by yourself. The strength of LilyPond lays in the power and

  judge FOR yourself.

flexibility of its language. Some environments will help you [link to
the helper programs page] but still, /(addd comma)/ the language is the key to
successful high-quality engraving, as we see it.


Cheers,
Wol
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Re: theory question

[Anthony W. Youngman]

In message <894826.55836...@web83408.mail.sp1.yahoo.com>, Mark Polesky 
 writes


Grammostola Rosea wrote:

I've learned when major scale:

step:
I: maj7
II:  min7
III: min7
IV: maj7
V: dominant 7
VI: min7
VII: -7

But what when it is a minor scale? For example E minor? Which type of chords
belongs to the 7 steps?


If it's "natural" minor than it's the same series, but starting on
the equivalent of degree 6 in the major:

i: min7
ii: -7
III: maj7
iv:  min7
v: min7
VI: maj7
VII: dom7


Harmonic minor has a raised 7 which changes all odd degrees:

i: min/maj7
ii: -7
III: maj7+5
iv: min7
V: dom7
VI: maj7
vii: dim7

I can't remember what it's called, but there's a third minor scale where 
the 7th can be raised or not. If it's going up to the tonic it's 
sharpened, and if it's going down, it's not. So in the scale of A (your 
classic minor) it goes:


a b c d e f g# a g f e d c b a

Cheers,
Wol
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Re: new website: draft 3

[Anthony W. Youngman]

In message , Kieren 
MacMillan  writes

Hi Anthony (et al.),


DON'T assume web browsers are full screen!


+1


I curse blue murder when someone else borrows my pc,
immediately "full screen"s all my windows (amongst other nasty 
little changes ...),

and then leaves me to sort out the resulting mess. :-(


Do what I do: define a guest user, and only give them access to 
that... I could care less what mess they leave the guest user in!  =)



Doesn't work :-(

At home, everybody has their own login, but quite often I leave the 
computer for 10 seconds, and when I come back they're using my 
session...


And when I had a job, they would often come over to show me something 
(or I would ask them) so they needed to use my login but would trash my 
settings...


It's the old saw of theory and practice - in theory the "guest" idea is 
great, in practice it doesn't work (Oh - I don't have XP, and I run Pro 
or Server anyways, so I don't have fast user switching...)


Cheers,
Wol
--
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Re: new website: draft 3

[Anthony W. Youngman]

In message <4a480622.1080...@yahoo.com>, Patrick Horgan 
 writes
On this page 
http://percival-music.ca/blogfiles/out/lilypond-general_6.html#Crash-course 
it mentions that help is wanted because an example is too wide for 
narrow media.  What's the criteria?  It fits in 800x600 just fine and 
these day web-developers say that 1024x768 is the new 800x600.   Much 
of the site certainly doesn't work for hand held devices.


DON'T assume web browsers are full screen! I curse blue murder when 
someone else borrows my pc, immediately "full screen"s all my windows 
(amongst other nasty little changes ...), and then leaves me to sort out 
the resulting mess. :-(


My screen is that 1024x768, then I lose stuff for menu bars, then I size 
my screens to use maybe 2/3rds of the available screen estate. If the 
page is optimised for 1024... I'm stuffed!


Cheers,
Wol
--
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Re: Lilypond and Jazz chords

[Anthony W. Youngman]

In message , Carl D. Sorensen 
 writes

But there is a (to me) surprisingly large contingent of users who claim that
there is no well-defined connection between chord names and chord notes, and
that they want total control over the symbols to be displayed.  And the
lyricChordNames functionality is a way to get transposable chord names for
people who are in that camp.


Let's take the notes C, Eb, F, Ab. Which chord is that? What's the root?

You can easily go from the name to the notes, but not the other way 
round.


Cheers,
Wol
--
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Re: OFF TOPIC: on porting Platform Builder 6.0 [WAS: Re: Notation Editor with MIDI]

[Anthony W. Youngman]

In message <1244715010.25811.674.ca...@heerbeest>, Jan Nieuwenhuizen 
 writes

Ah, that's a relief.  Now listen-up fellow LilyPond developers
and users: I'm not going to help you as I just got relieved from
this task, but will *you* please port Platform Builder 6.0 to Linux, so
that Helge may switch to Ubuntu?

I'm saying please, but you may take this as an order!  ;-)

Platform Builder 6.0 is a beautiful piece of software which, when ported
to Linux may greatly help Microsoft advance their dieing mobile and
embedded OS solutions -- and may almost enable Helge to switch to
Ubuntu.  So, what are you waiting for!?

Helge, to avoid burdening our community with an unnecessary load
of work, could you please check if Platform Builder 6.0 runs in
wine, on Ubuntu Jaunty?  Thanks!


Or in vmWare, or one of the other virtual machines ...

(I'm thinking of trying one, but with 3/4Gb ram and an Athlon 1050 - no 
I don't think they made one but it's a 1400 running at a 100MHz FSB 
instead of 133 - I think it'll make pretty heavy weather of running it. 
And at the moment a PC upgrade isn't on the cards :-(


Cheers,
Wol
--
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Re: emacs lilypond-mode

[Anthony W. Youngman]

In message 
<7958d8c70905290126i234bee3dl2e67c23165703...@mail.gmail.com>, Francisco 
Vila  writes

2009/5/28 Thomas :

PS
Another not so smart question: how can I reply to a posting on this list?? my
outlook-express-newsreader doesn't recognize the list, and the web-interface
only allows to answer directly to an email ... not to the list (??)


Don't you have a reply-to-all function?

You can always cc to lilypond-user@gnu.org

Why is he reading a *mailing* list using a *newsreader*? That said, I do 
the same, but my client has an explicit "this is a mailing list, treat 
it as a newsgroup" setting, so it knows how to reply.


If he's getting it from a mail2news gateway, then he should subscribe to 
the list itself, and use OE's filter rules. Not using OE myself (I avoid 
lookout entirely if I can), I don't know for sure how to configure it.


Cheers,
Wol
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Re: Secondary beaming with a tuplet

[Anthony W. Youngman]

In message <4a1c580a.3020...@webdrake.net>, Joseph Wakeling 
 writes

Hello all,

I have a 7:8 tuplet rhythm which repeats quite regularly in a piece,

 \times 8/7 { gs8\pp gs16 gs8 gs }

... but displays with one problem: the secondary beam for the 16th note
points to the right, not to the left; the 16th note grouping should be
3+2+2.

I can get what I want by using,

\times 8/7 { gs8\pp \set \stemLeftBeamCount = #2 \set
\stemRightBeamCount = #1 gs16 gs8 gs }


Does
\times 8/7 { gs8[\pp gs16] gs8[ gs] }
work for you?


... but that works only the once and is a pain to have to repeat many
times.


That also will only work the once, but at least it's a lot easier to 
type


Cheers,
Wol
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Re: Users versus developers (was: Tempo mark alignment)

[Anthony W. Youngman]

In message <894cbbba-43cf-47cf-9e73-a3a7a2504...@bitstream.net>, Tim 
McNamara  writes


On May 23, 2009, at 5:05 PM, Anthony W. Youngman wrote:

In message <1243107160.13852.64.ca...@mung-papu>, Ari Torhamo 
 writes

The first option is achieved by handling everything a non-programmer
can do: managing bugs, helping new users, writing the newsletter, 
etc.

The second option is achieved in two ways: helping expand our
community (and hoping this way more programmers will join on a
long-term perspective), or hiring someone (with decent money) to let
him learn the code and implement the feature/fix the bug you want.


You don't quite seem to get Tim's point: everybody can't and doesn't
need to participate every project they find useful - especially when
they don't consume the resources of the project in question (more 
than

marginally). Most people don't contribute equally to things in their
life - people specialize, which is good, because they have different
lives, situations, skills and talents. It's good to encourage 
people and
make them aware of the ways to contribute - and then leave it to 
them.


Unfortunately, Tim's point is at odds with the philosophy of free 
software - which can be pretty succinctly stated as "he who writes 
the software makes the rules".


Ummm.  That's not the philosophy of free software.

http://www.gnu.org/philosophy/philosophy.html

Indeed, projects governed by Anthony's description of the philosophy 
tend to die quickly or get forked and the original developer loses 
control over it.


Well, if somebody's writing code, they're not dead, so if they follow my 
philosophy then by definition they CAN'T be dead ...


And, having been involved in a project (actually one I started), then a 
new developer took over from me and took the project in a direction I 
didn't like, but it wasn't a fork. He took over the coding. The only way 
I could have stopped him was to do more code myself (and I didn't have 
time).


And while I think that Graham is often more "bad cop" than 
necessary (I've fallen foul of him too :-) he does have somewhat of 
a valid point - if you're not prepared to put in any work then why 
should other people put in work on your behalf?


Because if those things adversely affect my use of the application, 
the odds are very good it adversely affects someone else's and maybe 
lots of someone else's use of the software.  Graham's idea (I am 
interpolating here, he can correct me if I'm wrong) that "people 
should be willing to put into the project is very valid."  My point 
was that the form of those contributions is going to vary with 
people's abilities.


Agreed. My main contribution in the past was proof-reading, and Graham 
expected me to contribute patches. Bit difficult if I'm proof-reading a 
hard copy and don't have a system that can make patches.


For reasons already mentioned, I'm not going to  learn Scheme and I'm 
not going to contribute code.  It is very myopic  to define "helping" 
as "writing code" (this is a widespread problem  in the FOSS 
community). On the other hand, I am a psychologist with  some knowledge 
of how people interact with information and those  skills might offer a 
way to contribute and I have tried to do that.   Also, my use (and 
others') of the software, feedback on its  usability, etc. is of utility.


But at the end of the day, if you don't code, you don't have direct 
influence on the project. And as I know from experience, "usability" and 
all the other "soft" stuff is very subjective. What's usable to one 
person is a pain in the neck to someone else.


My example of this is "reveal codes" in WordPerfect (oh - and I hate 
OpenOffice because it's a copy of MS Office and I find their usability 
decisions make the whole thing unusable - the more WordPerfect tries to 
become Word-like the less usable it is). My brother had a similar 
experience with "unusable" emacs - he now thinks its wonderful - it 
hasn't changed, he has.


But at the end of the day, as I say, he who writes the code makes the 
rules. If you're not prepared to get your hands dirty, you are reliant 
on other people doing what you want, and they are free to (indeed, quite 
likely to) ignore you unless you're prepared to make it worth their 
while.


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Users versus developers (was: Tempo mark alignment)

[Anthony W. Youngman]

In message <1243107160.13852.64.ca...@mung-papu>, Ari Torhamo 
 writes

The first option is achieved by handling everything a non-programmer
can do: managing bugs, helping new users, writing the newsletter, etc.
The second option is achieved in two ways: helping expand our
community (and hoping this way more programmers will join on a
long-term perspective), or hiring someone (with decent money) to let
him learn the code and implement the feature/fix the bug you want.


You don't quite seem to get Tim's point: everybody can't and doesn't
need to participate every project they find useful - especially when
they don't consume the resources of the project in question (more than
marginally). Most people don't contribute equally to things in their
life - people specialize, which is good, because they have different
lives, situations, skills and talents. It's good to encourage people and
make them aware of the ways to contribute - and then leave it to them.


Unfortunately, Tim's point is at odds with the philosophy of free 
software - which can be pretty succinctly stated as "he who writes the 
software makes the rules".


And while I think that Graham is often more "bad cop" than necessary 
(I've fallen foul of him too :-) he does have somewhat of a valid point 
- if you're not prepared to put in any work then why should other people 
put in work on your behalf?


I think it would have been considerate of you to let it go after reading
what Tim hinted about his life situation.


Mebbe. But there's a time and place for saying "tough mate, that's just 
how things ARE!". It's all very well saying "stop the world, I want to 
get off", but the world keeps going regardless, and if you're not 
prepared to do anything about it, then that's your lookout.


I'm not far short of 50, I've got a mortgage (and rather too much time 
on my hands at the moment - I got "credit crunched" a couple of months 
ago), etc etc. I want to contribute (okay, only my itches, but at least 
if I do it it'll help other people as well as me). "Ask not what 
lilypond can do for you, but what you can do for lilypond".


Cheers,
Wol
--
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Re: \partial at start, but want whole bar at end

[Anthony W. Youngman]

In message , Paul 
Hodges  writes

--On 22 May 2009 18:02 +0200 "James E. Bailey"
 wrote:


I've never seen this, in fact the opposite! How is lilypond
insisting? Can you make a two or three measure example that shows
what you mean?


Sorry, I missed out what turned out to be the key bit of information -
that the last bar was also the second part of an \alternative at the
end of a repeat which started with a \partial.  I have been shown a
solution off list.  What I had written was:

\alternative {
{ c2. }
{ c1 \bar "|." }
}

I think it's the short first alternative that's throwing it off. Another 
trick to try is to pad it out - { c2. s4 }. That might be a lot simpler 
than various tweaks to get it to behave (although it might introduce 
other problems instead ...).


Cheers,
Wol
--
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Re: relative mode occasionally gets forgotten?

[Anthony W. Youngman]

In message , Carl D. Sorensen 
 writes

On 5/15/09 3:06 PM, "Anthony W. Youngman" 
wrote:


In message <200905151909580...@1654122929>, David Pounder
 writes


I don't know if it's worth mentioning, but you can also run into
problems using \repeat inside a \relative block if an \unfoldRepeats is
used outside the block. For example in

Tune = \relative c' { \partial 4 d4 |
   \repeat volta 2 { c4 d e g | }
}

the first c will be relative to the last g on the second play through
using \unfoldRepeats. Rewriting as

Tune = { \partial 4 d'4 |
   \repeat volta 2 \relative c' { c4 d e g | }
}

resolves the problem. I try to make sure I keep \relatives at the
innermost block for this reason. Is this a case of programming style,
and should the docs cover it?


Han-Wen gave me a resetOctave function that deals with this. I don't
know if it's made its way into the docs, though.


I just use the octave check construct and ignore the warning.


Example of resetOctave and its use attached ...

\version "2.8.2"

resetOctave  =
#(define-music-function
(parser location reference-note)
(ly:music?)

   (let*
((notes (ly:music-property reference-note 'elements))
 (pitch (ly:music-property (car notes) 'pitch))

   )

(set! (ly:music-property reference-note 'elements) '())
(set! (ly:music-property reference-note
   'to-relative-callback)
   (lambda (music last-pitch)
pitch))

reference-note
))

pennsylvania = \context Voice = pennsylvania {
\override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4
}

pennsylvaniaLyrics = \lyricmode { \small { Penn syl van ia six five thou sand } 
}

voiceTromboneI = \relative c' {

r2  ef4.-- ef8-> ~ ef1 r2 r4 bf8.->( ef16-.) r2 r4 ef,8. af,16-> ~ |
af2 c-- df-- d-- ef-- df-- c-- bf-- |
\repeat "volta" 2 { R1*6 } \alternative { { \resetOctave f 
\pennsylvania } { \pennsylvania } }
bf8-. cf4-> bf8-> ~ bf4 bf8.-- af16-. r8 af4.---. r2 bf8-. cf4-- bf8-> 
~ bf4 bf8.-- af16-> ~ |
af2~ af8 r8 r8. b16( ~ c4-.) cs8-- c8-> ~ c8 b4.-- bf4 af8. bf16 ~ bf4 
r c2( d4.) df8-> ~ |
df8 d4-- df8-> ~ df4 r4 R1*6 \resetOctave f \pennsylvania |
af,2-- cf-- af2.-- r4 af2-- cf-- af-- a-- |
bf2.-- r4 ef2.-- ef4-- af,2 c df4.---> d8---> ~ d ef4.---> |
af,2-- cf-- af2.-- r4 af2-- cf-- af-- a-- |
bf2.-- r4 ef2.-- ef4-- af,2-- c-- df4 ef8.->( af,16) ~ af4 r |
r8 c'4.---> ~ c2 r8 b4.---> ~ b2 r8. c16-> b8.-> b16-> c8.-> c16-> 
b8.-> b16-> c4-> r r2
\repeat "volta" 2 { \repeat "percent" 3 { df8^+ df4.^o ~ df4 r R1 }
df4.^\markup{ +o } df8^\markup{ +o } ~ df4. df8^\markup{ +o } ~ } 
\alternative { { df4. df8^\markup{ +o } ~ df4. r8 } { df4 df8. d16 r8 df4.---> 
} }
R1*7 r2 r8 b4.^-^+( \glissando c1^o) ~ 
c4 r r8 b4.^-^+( \glissando c1^o) ~ c4 r r8 c4.^-^+( \glissando df1^o) ~
df4 r r8 b4.^-^+( \glissando c1^o) ~ c4 r r8 e4.^-^+( \glissando 
\repeat "volta" 2 { f1) ~
f4 r r8 e4.^-^+( \glissando f1) ~ f4 r r8 e4.^-^+( \glissando f1) ~
f4 r r8 e4.^-^+( \glissando f1) ~ } \alternative { { f2 r8 e4.^-^+( 
\glissando } { f2) r8 e4.^-^+( \glissando } }
f1) ~ f4 r r8 e4.^-^+( \glissando f1) ~ f4 r r8 ef4.^-^+( \glissando 
f1) ~ f4. f8 r4 d8.-> df16-> r8 d4.---> ef8.-> e16-> f8.-> gf16-> ~ gf1

}



Cheers,
Wol
--
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Re: relative mode occasionally gets forgotten?

[Anthony W. Youngman]

In message <200905151909580...@1654122929>, David Pounder 
 writes

--- Original Message ---
From: "Anthony W. Youngman" 
To: lilypond-user@gnu.org
Sent: 15.5.09, 18:03:43
Subject: Re: relative mode occasionally gets forgotten?

In message <20090515145035.ga3...@nagi>, Graham Percival
 writes
>On Fri, May 15, 2009 at 06:46:39AM -0600, Carl D. Sorensen wrote:
>>
>> First, I think that the information above should be put into 1.1.1 Writing
>> Pitches as examples under Relative octave entry.  There should be three
>> separate items/examples:
>>
>> When relative blocks are nested, the innermost relative block applies.
>>
>> \relative c' { d e f \relative c'' { d e f}}
>
>Woah, that's froody!  I would have never expected that!
>
>> Note:  I haven't tested any of these examples.
>
>I tested the above, because I just couldn't believe it.  Anyway, I
>agree with these proposals.
>
When I first saw Chip's example, my reaction was "why on earth would you
want to do that?"

As I understand it, \relative converts from note names to absolute
pitches. Pretty much everything else in lily works on pitches. In a .ly
file you don't know, on seeing a "c", which c it is - middle, top, low,
whatever. If it's wrapped in a \relative{}, that assigns a pitch to it.
Anything else on seeing it assumes it's "c in the bass clef" as that's
the pitch assigned to the note "c".

So, I don't know how to word it, but when you're talking about \relative
in the manual it should say that you should only use \relative
immediately around your note names because it converts note names to
absolute pitches. If there's another operator inside your \relative (ie
in Chip's case, a \transpose, in the example above an inner \relative)
that forces absolute pitches, then the \relative will do nothing because
it doesn't know what to do with a pitch.

Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



I don't know if it's worth mentioning, but you can also run into 
problems using \repeat inside a \relative block if an \unfoldRepeats is 
used outside the block. For example in


Tune = \relative c' { \partial 4 d4 |
   \repeat volta 2 { c4 d e g | }
}

the first c will be relative to the last g on the second play through 
using \unfoldRepeats. Rewriting as


Tune = { \partial 4 d'4 |
   \repeat volta 2 \relative c' { c4 d e g | }
}

resolves the problem. I try to make sure I keep \relatives at the 
innermost block for this reason. Is this a case of programming style, 
and should the docs cover it?


Han-Wen gave me a resetOctave function that deals with this. I don't 
know if it's made its way into the docs, though.


Cheers,
Wol
--
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Re: relative mode occasionally gets forgotten?

[Anthony W. Youngman]

In message <20090515145035.ga3...@nagi>, Graham Percival 
 writes

On Fri, May 15, 2009 at 06:46:39AM -0600, Carl D. Sorensen wrote:


First, I think that the information above should be put into 1.1.1 Writing
Pitches as examples under Relative octave entry.  There should be three
separate items/examples:

When relative blocks are nested, the innermost relative block applies.

\relative c' { d e f \relative c'' { d e f}}


Woah, that's froody!  I would have never expected that!


Note:  I haven't tested any of these examples.


I tested the above, because I just couldn't believe it.  Anyway, I
agree with these proposals.

When I first saw Chip's example, my reaction was "why on earth would you 
want to do that?"


As I understand it, \relative converts from note names to absolute 
pitches. Pretty much everything else in lily works on pitches. In a .ly 
file you don't know, on seeing a "c", which c it is - middle, top, low, 
whatever. If it's wrapped in a \relative{}, that assigns a pitch to it. 
Anything else on seeing it assumes it's "c in the bass clef" as that's 
the pitch assigned to the note "c".


So, I don't know how to word it, but when you're talking about \relative 
in the manual it should say that you should only use \relative 
immediately around your note names because it converts note names to 
absolute pitches. If there's another operator inside your \relative (ie 
in Chip's case, a \transpose, in the example above an inner \relative) 
that forces absolute pitches, then the \relative will do nothing because 
it doesn't know what to do with a pitch.


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Newbie Question -- verse and chorus

[Anthony W. Youngman]

In message 
, Tim Rowe 
 writes

2009/5/11 Graham Percival :


RTF Learning Manual.  It's written specifically for this purpose.
- Graham


Really I find this attitude very aggressive, hostile and unwelcoming,
and quite unlike all of the other email groups for software that I
use.


Graham's quite cuddly when you get to know him - like a hedgehog you 
just have to be very careful how you cuddle him :-)


In the case of every question I have asked, I have not only scoured
the manuals -- not just the learning manual -- but also searched the
snippets repository and the web in general for anything that might
give me a clue. Each question has only been asked after *hours* of
searching. In the case of every question I have asked, somebody has
just told me to "read the manuals" as if I were some sort of idiot. I
have to say that I find the manuals very poor -- they assume a lot of
prior knowledge, and they are poorly indexed, but this is usual for
free software -- documentation almost always lags behind, but usually
it's compensated by a friendly user community.


Actually, the manuals are pretty good. And we have Graham to thank for 
that.


The problem is that lilypond is NOT a user-friendly program. It's a 
highly sophisticated typesetting program and, as you say, assumes a LOT 
of background knowledge in order to be able to use it well.


It's easy to use in a basic sense. As soon as you try and do anything 
complicated (as I'm trying to do) you hit a *steep* learning curve.


But that's the nature of the beast. Any tool that sets out to do a 
specialist job well *will*, by the very *nature* of the thing, be a tool 
that requires a specialist user.


I'm very disappointed in the attitude of some members of this group,
who seem to want Lilypond to be a private club and don't want the
inconvenience of new members. Your hostility and unhelpfulness makes
me strongly tempted to go back to Finale, but fortunately /some/
members of the mailing list have a much more welcoming and helpful
attitude.

If this is not an appropriate place to ask elementary questions that I
can't find addressed in the manuals or on the web (even if the answers
are buried in there somewhere) then please tell me where I /can/ ask
those questions. Otherwise your attitude is simply going to drive
people away. Maybe that's what you want.


This is the place to ask :-( Just give Graham as good as you get :-)

The difficulty is that steep learning curve. Any decent lilypond piece 
of music is a *program*, written in a *schizophrenic* *mix* of lilypond 
and Scheme (which is a dialect of Guile, which is a dialect of Lisp, 
which is something many people, including programmers nowadays, have 
never met).


Some people seem to find that transition from simple to decent easy - 
I've seen it happen to people on the list. Others find it hard. I'm 
finding it hard. I really need someone to hold my hand while I get 
started, and that doesn't happen on this list. People are helpful though 
- on several occasions people have offered to write stuff I want 
(sometimes for a fee :-). But I don't want it written for me, I want to 
write it myself in order to learn, and that's where this list does fall 
apart a bit :-(


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Absolute premiere of a LilyPond typesetted work

[Anthony W. Youngman]

In message 
, Valentin 
Villenave  writes

2009/5/9 Francisco Vila :

It was typeset by the pianist and composer Pascual Marchante. As for
the license of the score: well thougth, if it is not published at all,
how can it be licensed anyway? It is a copyrighted work, period. IIRC
it was commissioned by the Madrid autonomous community and maybe it
holds the whole rights.


As you may remember, free-licensed works are copyrighted (since free
licenses precisely rely on copyright, for example to guarantee the
author's paternity right).


Actually, I understand that isn't true ... What you say sounds American 
- under European law I understand that that isn't a right, but a 
requirement (reasonably enough). Under European law, an author may not 
sign away the right to be identified as the author.


If it is not published, that is a very good reason to release it under
an alternate license, since the author is not bound to a publisher
(and the commissionner, AFAIK, should not hold any copyright on the
work).


Did the commissioner ask for it as "a work for hire"? Certainly an 
employee's work belongs to the employer. By default, I think you're 
right that copyright for a commissioned work remains with the author, 
but that is often altered by the commission contract.


Oh - and under English law, afaik, an unpublished work can only be 
published by the owner. There are a lot of cases of old diaries, of 
immense historical interest, not being published because they never have 
been in the past and the current owner refuses to. Despite the author, 
in many cases, being dead for a century or two - not just 50 or 70 or 
however many years copyright lasts nowadays ...


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Optimal page breaking

[Anthony W. Youngman]

In message <1241914773.13703.7.ca...@mercury>, Joe Neeman 
 writes

On Sun, 2009-05-10 at 00:18 +0100, Anthony W. Youngman wrote:

Isn't working "quite right" and I can't see how to fix it (12.2).



From the content of your email, I suppose you mean page-turn-breaking

rather than optimal-breaking?

Same thing? I used the title of the manual section, rather than the 
engraver.


I've got a piece that I would like to fit on 3 pages (it insists on
going to 4 :-( but it also insists on breaking at rests after page 1 and
3. There's a rest on the last line of page 2 that it should break after,
which would then give me one turn instead of 2 (and far more time to
turn in :-)


If you know exactly where you want the page turn to happen, you can
leave the Page_turn_engraver out and specify the turn with
\allowPageTurn. In general, if you prefer page turns only after longer
rests, you can set the context property minimumPageTurnLength to
something larger than the default.

I was hoping to let lily do it all by default - this particular piece 
uses several bits that I'd like to turn into my personal templates and 
I'd rather not put specific hacks in :-)


Oddly enough, I couldn't get it all to fit on three pages - lily 
insisted on spilling onto the fourth even with page-count = 3 - UNTIL I 
did as you suggest and set minimumPageTurnLength. At which point it 
decided to fit everything on three pages and break where I want at 
page1. Perfect :-) One easy turn.


 From the documentation it seems like it's supposed to break after every
second page (ie what I want). But it's breaking on the first and every
subsequent 2 which I don't want. I thought there was an option to tell
it whether to break after odd or even pages but this isn't mentioned
along with everything else. Does this option exist, and what is it?


The page turn algorithm isn't very flexible in this regard: it only does
page turns after odd-numbered pages. If you don't want a page turn after
the first page, you need to set first-page-number to 2.

Oh well. I thought I remembered some way it could be changed, when it 
was being discussed on devel.


Thanks,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Optimal page breaking

[Anthony W. Youngman]

Isn't working "quite right" and I can't see how to fix it (12.2).

I've got a piece that I would like to fit on 3 pages (it insists on 
going to 4 :-( but it also insists on breaking at rests after page 1 and 
3. There's a rest on the last line of page 2 that it should break after, 
which would then give me one turn instead of 2 (and far more time to 
turn in :-)


From the documentation it seems like it's supposed to break after every 
second page (ie what I want). But it's breaking on the first and every 
subsequent 2 which I don't want. I thought there was an option to tell 
it whether to break after odd or even pages but this isn't mentioned 
along with everything else. Does this option exist, and what is it?


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: default beat groupings

[Anthony W. Youngman]

In message , James 
E. Bailey  writes

Did the default beat groupings change? I thought I remembered that in 3/4,
three eighth-note triplets followed by an eighth note and an eighth rest
would not beam the eighth note to the triplets. In 2.12.2 it does. Is this
new? Am I remembering poorly?


beat groupings is a bit buggy in 2.12 ... it is grouping 3/4 as if it 
were 6/8 :-(


Upgrade to 13.whatever when you're ready.

Or put the following

#(revert-auto-beam-setting '(end * * 3 4) 3 4 'Score)

after your 3/4 time signature to fix it in 2.12. If you search the 
mailing list you'll probably find all this last month (search for me - I 
was in the thread).



James E. Bailey


Cheers,
Wol
--
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Re: Margins

[Anthony W. Youngman]

In message 
<7958d8c70904160057l5d36e23et24e0cbeb75085...@mail.gmail.com>, Francisco 
Vila  writes

2009/4/15 Anthony W. Youngman :

Just like a page has a top and bottom margin, and your usable area is
usually what's left (but may lose some to a header and/or footer space), so
from left to right you normally have left and right margin with usable area
being what's left, you sometimes lose some of that to the binding margin.

I'll use American sizes for easy maths, but lets say you have a 1/2" binding
margin, that leaves you with an 8" wide page. If you now have 1/2" left and
right margins that leaves you with 7" of usable space. And you'd spec that
as '1/2" left and right, and 1/2" binding margins'. That says everything
that needs to be said.


This is only true if you could set a negative binding margin, and even
in this case you could encounter problems with the paper size.
Otherwise, how would you specify big outer margins for a book?


Umm. I'd never met that. Bearing in mind other people have said the same 
thing, it seems to be a common enough requirement, though I can't see 
why.


But to specify outer margins, I'd simply declare a binding margin but 
place it on the other side of the page.


See JPG for an example of outer margins greater than inner margins
that would need both a negative binding and a virtual page size which
I don't know how to deal with. Maybe you can offer a solution for
this, which I still don't see.


Someone else will have to code it, but the obvious solution to me then 
seems to be a "binding" option. The snag at the moment is we don't have 
a right margin, but we could define "left = inner for the right hand 
page", and then if binding is on we swap the margins over for left hand 
pages. One of the options for binding would be to say whether odd or 
even pages are on the right (by default, it's odd, but we can't assume 
that's always true :-)


In LaTeX you can specify an oneside or twoside option that lets you
easily handle both cases.


I don't know LaTeX, but is my option pretty much the same?

Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Margins

[Anthony W. Youngman]

In message , Henning Plumeyer 
 writes
Am 15.04.2009, 19:56 Uhr, schrieb Anthony W. Youngman 
:


In message , Henning Plumeyer 
 writes

Am 14.04.2009, 18:32 Uhr, schrieb Mark Polesky :

Francisco Vila wrote:


2009/4/11 Mark Austin :
> Is there any way of setting a binding
> margin... need to increase the left
> margin of odd-numbered pages, and the
> right margin of even numbered pages...


Could we say inner margin?


Please no.

AIUI, the proper technical term IS "binding margin". Let's not change 
it just to be different.


Ok, the introduced technical term should be used. Didn't know it is one.

Btw: What the word for the opposite margin?


I don't know there is one. Why should there be?

Just like a page has a top and bottom margin, and your usable area is 
usually what's left (but may lose some to a header and/or footer space), 
so from left to right you normally have left and right margin with 
usable area being what's left, you sometimes lose some of that to the 
binding margin.


I'll use American sizes for easy maths, but lets say you have a 1/2" 
binding margin, that leaves you with an 8" wide page. If you now have 
1/2" left and right margins that leaves you with 7" of usable space. And 
you'd spec that as '1/2" left and right, and 1/2" binding margins'. That 
says everything that needs to be said.


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Margins

[Anthony W. Youngman]

In message , Henning Plumeyer 
 writes

Am 14.04.2009, 18:32 Uhr, schrieb Mark Polesky :

Francisco Vila wrote:


2009/4/11 Mark Austin :
> Is there any way of setting a binding
> margin... need to increase the left
> margin of odd-numbered pages, and the
> right margin of even numbered pages...


Could we say inner margin?


Please no.

AIUI, the proper technical term IS "binding margin". Let's not change it 
just to be different.


Cheers,
Wol
--
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Re: (de)cresendi syntax

[Anthony W. Youngman]

In message , Piero Faustini 
 writes


.ExternalClass .EC_hmmessage P {padding:0px;} .ExternalClass
body.EC_hmmessage {font-size:10pt;font-family:Verdana;}

recognising the original Italian from is adjectival.


thus sorry for them, but it is WRONG at all. This is plain english syntax
rules roughly applied to a foreign language: in english you can say both
"the sun keeps raising" and "the raising sun".


Actually, you can't. "raising" (if I've got my grammar right) is a 
transitive verb, ie the subject and object are not the same thing. You 
mean "rising", which is intransitive, and so can be applied to an 
object.


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: I don't remember how to do this ...

[Anthony W. Youngman]

In message , Carl D. Sorensen 
 writes




On 4/10/09 10:54 AM, "Chip"  wrote:


Thanks Carl,


You're welcome.


That's what I needed. Has this been simplified in the last year or two? Seems
I recall there was a need to use two /transposes in the past.


I don't think so.  I think that what you are remembering is the use of
\transpose and \transposition, which I don't really understand because I've
never used it.


Or it was me. If I'm going from treble clef to treble clef I use two 
transpositions.


One wrapped round the notes as entered to transpose them from Bb to 
concert, and the second wrapped round that to convert them back to Bb 
for printing.


Piece in treble clef Bb -
tbonea = transpose c bf, { all the notes of the piece }

That will then need a "transpose bf, c { \tbonea }" if I want to output 
music in treble clef.


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Real-world usage of Lilypond

[Anthony W. Youngman]

In message <49dd97f8.20...@gmail.com>, Wei-Wei Guo  
writes
I don't know there are many different systems. I'm working on a 
songbook

for our family church, but I have little knowledge of music. So I started
learning music script about a month ago. Since it's difficult for me to
remember and understand those music symbols, I want to record those
symbols and make learning notes in my reading notices system. That's 
why

I keep on asking about methods of inputing music symbols in several
mailing list threads. Sorry for making those noises.


gmail.com is a very "anonymous" country for email, but in the UK we have 
the ABRSM Theory Of Music booklets. Basically a series of questions 
about music, from grade 1 (simple) to grade 8 (university entrance).


If you want to learn and can get hold of these, they'd be a very good 
primer.


Cheers,
Wol
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Re: significance of whitespace [WAS: LilyPond, Finale and Sibelius]

[Anthony W. Youngman]

In message <49da120a.7090...@hohlart.de>, Marc Hohl  
writes
1) personally, I would use the "%", but this is the comment sign and 
can't be used.

  (perhaps this would be even possible, but ... NO!)


Oh my gosh, please, NOOO

As Han-Wen has said, parsing is important. In another life I work with a 
language called DataBasic. What do you thing of the following line of 
code:


REM: REM = REM(6, 4) ; REM This is an example of a horrendous line.

Here we have REM used consecutively as (1) a label, (2) a variable, (3) 
a function, and (4) a language command. Now imagine how easy that is to 
lex/parse... because it IS legal syntax ! :-(


Cheers,
Wol
--
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Re: Concert Pitch (a second try)

[Anthony W. Youngman]

In message <7ba1cb89-6dd8-4258-aa23-32ba97b5f...@gmail.com>, Simon 
Bailey  writes
this happens in dutch symphonic wind music a lot as well. the trombone 
parts are supplied in Bb treble-clef (transposed), Bb bass-clef 
(transposed) and C bass-clef (concert pitch). i've only ever seen it 
in dutch published music, i'm not sure exactly where it comes from, 
but it's horribly confusing when the librarian doesn't know the 
difference... ;)


That's good to know - I'll mention it in passing ...


a useful fact for Bb transposing instruments usually notated in bass 
clef (trombones, euphonia, etc.) is that the treble-clef transposed 
part can be read almost exactly as if it were notated in concert-pitch 
tenor-clef (add 2 flats and pay careful attention to the accidentals). 
fairly random piece of information, but it helps me whenever i run 
across treble-clef b-flat parts.


Yes - I use that trick a bit ... I prefer to try and read tenor clef as 
tenor because it makes the accidentals easier, but I see it pretty 
rarely so I usually start thinking treble and then switch as I get into 
it.


You can pull the same trick with Eb parts too - if the music is written 
in Eb, add three flats to the key signature and read it as if it were 
bass clef.


Cheers,
Wol
(who reads four clefs, treble in Bb, bass, tenor and treble in concert 
:-)

--
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Re: Concert Pitch (a second try)

[Anthony W. Youngman]

In message <49d996bb.9090...@ultrasw.com>, Paul Scott 
 writes

Ian Hulin wrote:

Hi all,
O.K here goes, I've pruned some bits out where we were getting into 
acoustics, and tweaked a few bits.


Cheer
Ian Hulin


(snip)
  Transposing instruments are named according to the fundamental 
(known   on some brass instruments as the pedal) note.


On a woodwind instrument this is normally the note obtained with all 
holes covered without over-blowing or use of speaker keys. On a brass 
instrument it the note obtained with most relaxed embouchure and the 
slide extended fully

That should be not extended at all for trombone (1st position).

or all valves open.

True.


???

What do you mean by an "open" valve? To me it means the valve is 
depressed and the associated tubing is brought into play, which it 
shouldn't be. It's probably best said as something like "with the 
instrument in its shortest configuration, eg the slide in 1st position 
or the valves not depressed".


The other point that should be made is that the octave above the pedal 
note is notated as middle C in the treble clef. I was unaware, however, 
that the bass clarinet transposed in bass clef! And I seem to remember 
some American parts that appeared to have the trombone part transposed 
in bass clef too - that piece rapidly got ditched so I know precious 
little about it. That might be an American convention ...


I'll try again later :-)

Cheers,
Wol
--
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Re: Music Glossary - 1.64 Concert Pitch (2.12.2)

[Anthony W. Youngman]

In message , Paul 
Scott  writes
I don't see how the physics would work to give you a quarter- 
wavelength as you claim.



I just did some quick online research and he is right.  A tube closed 
on one end like a clarinet or trumpet has a wavelength that is four 
times the length of the tube.  A flute is open on both ends so it has 
a wavelength of double the length of the tube.


I think I have it! All blown musical instruments are, as far as physics 
is concerned, "open" at both ends. Don't think of it as "the mouthpiece 
closes the tube", think of it in physics terms as nodes and antinodes. 
The bell end, being open, has to be an antinode. The mouthpiece end, 
being the source of the vibrations, ALSO has to be an antinode (a node, 
by definition, does not vibrate). Therefore, by definition, all blown 
musical instruments will have a fundamental frequency of 2L.


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Music Glossary - 1.64 Concert Pitch (2.12.2)

[Anthony W. Youngman]

In message , Paul 
Scott  writes


On Apr 3, 2009, at 3:49 PM, Anthony W. Youngman wrote:

In message 
<7ca3d5a30904031519ya3b89hb87cf8f81a544...@mail.gmail.com>, Neil 
Puttock  writes

2009/4/3 Anthony W. Youngman :
In message , Anthony W. 
Youngman

 writes


Ow!

Sorry, reading this was painful (I play the trombone, as many of 
you know

:-)


Replying to myself ... Just in case anyone didn't realise (and I 
certainly
didn't make myself clear :-) these are my revised versions that I 
think

should replace the existing entries. Feel free to edit and improve.


For example Concert A is 440Hz, the speed of sound in air is 
343m/s,
therefore an A clarinet (or any other A wind instrument) will 
have a length

of 343/440 = 78cm. (Or be a power of 2 longer or shorter.)


Concert A is definitely not the fundamental for an A clarinet: it's a
cylindrical tube stopped at one end, so the wavelength of the
fundamental is four times the length.  Since the lowest note on a
clarinet is usually the E below middle C unless it has an extension,
the fundamental would be C sharp (D on a B flat).


Ummm ... I think I might be getting physics fundamentals confused 
with musical fundamentals. But I'm COMPLETELY puzzled at your 
statement that the wavelength of the fundamental is FOUR times the 
length. I would guess the trombone is also "a cylindrical tube 
stopped at one end", and the wavelength of any note played must be 
an integral number of half-wavelengths. So we have 1/2-wavelength 
giving me a pedal Bb, 2/2 giving me the fundamental Bb, and 3/2   giving me an F.


I don't see how the physics would work to give you a quarter- 
wavelength as you claim.



I just did some quick online research and he is right.  A tube closed 
on one end like a clarinet or trumpet has a wavelength that is four 
times the length of the tube.  A flute is open on both ends so it has 
a wavelength of double the length of the tube.


Okay, I've just looked up "standing wave" on Wikipedia, and it seems 
you're right about the "four times". I can't reconcile that with brass 
instruments though. The first four open notes on a Bb instrument are Bb, 
Bb, F, Bb. To me that's saying the wavelength is 1/2, 2/2, 3/2, and 4/2 
the instrument length, and NOT 1/4, 3/4, 5/4 and 7/4 (Wikipedia says 
that for a quarter-wavelength, only the odd numerators are available).


Can anybody explain?

Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Multiple scores with common layout setup

[Anthony W. Youngman]

In message <49d32d78.8070...@gmx.net>, Helge Kruse
 writes
>Hello,
>
>I have a "Theme and Variations" questions. I started notating a piece
>what could be handled with (3.1.2 "Multiple scores in a book", see also
>http://lsr.dsi.unimi.it/LSR/Item?id=310). But I need a lot of layout setup in
>the PianoStaff, that is bound to the \score. Further I would like to write
>the Upper, Lower and Dynamics of the three variations in a similar way as
>I did for the theme.
>
>What is a convinient way to continue this notation work? I would like to
>avoid duplicating text group by copy and paste.
>
>Any other suggestions are welcome.

If it's all the same code, just bung it in a \include!

If it's similar code, look at using tags.

I create parts as separate files and an awful lot of my stuff is in
includes. For example, all the piece information for the header is in an
include and the part file contains

\header {
instrument = ...
\include header.ly
}

Cheers,
Wol
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Re: cannot find property type-check for `no-spacing-rods'

[Anthony W. Youngman]

In message , Kieren 
MacMillan  writes
That looks like my old (pre-recent-MetronomeMark improvements) 
function/macro for making tempo indications...


And the error makes it look like it might be a bug in lily anyway, 
but I

don't want to say that because I've been wrong too often - is the code
looking for something called "type-check" that should be there and 
isn't?


No... it's just indicating that this old code needs updating.
Actually, it should be replaced entirely by a MetronomeMark-based 
function -- I've got a couple that I will be submitting to LSR soon.


Actually, it's fairly new code :-)

How "metronome" are your metronome functions? I'm just using it for text 
like "moderately fast".


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Looking for proper beam grouping

[Anthony W. Youngman]

In message <3cbf99092d5f4e77a0cae01edf7be...@trevorlaptop>, Trevor 
Daniels  writes


Anthony W. Youngman Saturday, March 28, 2009 3:50 PM

In message <73a00026c6f3454c9cf5c090b12d0...@trevorlaptop>, Trevor
Daniels  writes




Just tried to do this (2.12.2) and I'm getting 6/8 beaming in a  3/4
passage :-( Am I doing anything stupid?

voiceTimeSig = {
   \override Staff.TimeSignature #'style = #'()
   \key f \major
   \time 3/4
#(revert-auto-beam-setting '(end * * 3 4) 3 4)
\set beatGrouping = #'(1 1 1)
   s2.*8  % mark 1
   s2.*6  % mark 2
   \time 2/4 s2 \time 4/4 s1



Not really stupid, as the same error catches everyone
quite often.  It's that Context thing again.  From the
way you are doing it I guess you are not placing the
revert command in every Voice.  But in this form it
applies only to the Voice context in which it appears.
To make the revert apply to every voice in a Staff you
need to add 'Staff, and to make it apply to every
Voice in every Staff you need to add 'Score, like this:

#(revert-auto-beam-setting '(end * * 3 4) 3 4 'Score)


Thanks.


Also the \set beatGrouping is unnecessary - that is the
default grouping in 3/4 time.

You'll be pleased to know the revert will not be required
at all in 2.13.1 to obtain this beaming.

It works fine now. But (as others have mentioned) why not in 2.12.3? 
imho it's a bug, and as such ought to be fixed.


Cheers,
Wol
--
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Re: cannot find property type-check for `no-spacing-rods'

[Anthony W. Youngman]

In message <9nk9hhd$hkzjf...@thewolery.demon.co.uk>, Anthony W. Youngman
 writes
>Not sure if this belongs here or on -devel ...

Oops - just found my code that's doing it - but I copied it from
somewhere and don't understand what it's doing or why ...

tempoMark = #(define-music-function (parser location markp) (string?)
#{
\once \override Score . RehearsalMark #'self-alignment-X = #left
\once \override Score . RehearsalMark #'no-spacing-rods = ##t
\mark \markup { \small \bold $markp }
#})

And the error makes it look like it might be a bug in lily anyway, but I
don't want to say that because I've been wrong too often - is the code
looking for something called "type-check" that should be there and
isn't?
>
>But I've just looked in the log file and found this in there. V 2.12.2 on
>Windows (same on V 2.11.59 - I've just upgraded to make sure it isn't a
>known/fixed thingy).
>
>Bearing in mind I don't know what "no-spacing-rods" is, it's an error
>internal to lily (which may or may not be something I've done :-)
>
>Relevant log contents follow:
>
>Interpreting music...
>warning: cannot find property type-check for `no-spacing-rods' (backend-
>type?).  perhaps a typing error?
>warning: doing assignment anyway
>[8]
>warning: cannot find property type-check for `no-spacing-rods' (backend-
>type?).  perhaps a typing error?
>warning: doing assignment anyway
>warning: cannot find property type-check for `no-spacing-rods' (backend-
>type?).  perhaps a typing error?
>warning: doing assignment anyway
>[16]
>warning: cannot find property type-check for `no-spacing-rods' (backend-
>type?).  perhaps a typing error?
>warning: doing assignment anyway
>[24][32][40][48][56][64][72][80][88][96][104][112][120][128][136][144][15
>2][152]
>
>
>Cheers,
>Wol

-- 
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Re: Looking for proper beam grouping

[Anthony W. Youngman]

In message <73a00026c6f3454c9cf5c090b12d0...@trevorlaptop>, Trevor
Daniels  writes
>
>Carl, you wrote Tuesday, February 24, 2009 1:43 AM
>
>> On 2/23/09 12:52 PM, "Maarten Deen"  wrote:
>>
>>> I have a piece of music in 3/4 which has bars like { d4. c8 b8.  a16 }
>>> Lilypond groups the last three notes together, making it look  like a
>>>6/8
>>> measure, but I want the c8 to be separate and only the b8. a16 to  be
>>>grouped
>>> (like a proper 3/4 would look like).
>>>
>>> I've tried some settings, like #(override-auto-beam-setting '(end  * * * *)
>>>1
>>> 4)
>>> or \set beatGrouping = #'(4 4 4) but to no avail.
>>
>> The proper way to set beatGrouping is #'(1 1 1), which means group  1
>>beat, 1
>> beat 1 beat, where a beat is defined by the time signature as a  1/4
>>note.
>>
>> But this doesn't work properly, and it should.
>>
>> I think this is a bug in the autobeaming code.  Could you please  send
>>a bug
>> report to bug-lilypond?
>
>This is not a bug.  There is still a general auto-beam
>setting for 3/4 time which inhibits beatGrouping.
>
>beatBrouping should work with the override
>
>#(revert-auto-beam-setting '(end * * 3 4) 3 4)
>
>
>I was waiting for 2.13 before I completed this work, as
>changing the default beaming did not seem right during
>a stable release.
>
Just tried to do this (2.12.2) and I'm getting 6/8 beaming in a 3/4
passage :-( Am I doing anything stupid?

voiceTimeSig = {
    \override Staff.TimeSignature #'style = #'()
\key f \major
\time 3/4
#(revert-auto-beam-setting '(end * * 3 4) 3 4)
\set beatGrouping = #'(1 1 1)
s2.*8  % mark 1
s2.*6  % mark 2
\time 2/4 s2 \time 4/4 s1


Cheers,
Wol
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cannot find property type-check for `no-spacing-rods'

[Anthony W. Youngman]

Not sure if this belongs here or on -devel ...

But I've just looked in the log file and found this in there. V 2.12.2 
on Windows (same on V 2.11.59 - I've just upgraded to make sure it isn't 
a known/fixed thingy).


Bearing in mind I don't know what "no-spacing-rods" is, it's an error 
internal to lily (which may or may not be something I've done :-)


Relevant log contents follow:

Interpreting music...
warning: cannot find property type-check for `no-spacing-rods' 
(backend-type?).  perhaps a typing error?

warning: doing assignment anyway
[8]
warning: cannot find property type-check for `no-spacing-rods' 
(backend-type?).  perhaps a typing error?

warning: doing assignment anyway
warning: cannot find property type-check for `no-spacing-rods' 
(backend-type?).  perhaps a typing error?

warning: doing assignment anyway
[16]
warning: cannot find property type-check for `no-spacing-rods' 
(backend-type?).  perhaps a typing error?

warning: doing assignment anyway
[24][32][40][48][56][64][72][80][88][96][104][112][120][128][136][144][15
2][152]


Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk



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Re: Using midi2ly

[Anthony W. Youngman]

In message <191e48a7-f2c8-41cf-8b6e-b6ebec40d...@math.su.se>, Hans Aberg 
 writes

On 28 Mar 2009, at 13:08, Laura Conrad wrote:


I might support that if we were setting the example by having an
ly2musicXML, but we aren't.


Normally one only provide converters to ones own source code format, so 
people get stuck with it: a form of competition limiting.



And who do we have to blame for that ...

Curiously, one of the major factors in WordPerfect's rise was the 
quality of its document converters - both in AND out. People bought a 
copy so they convert between other formats, and then because everybody 
had a copy everybody started using it as their main word processor 
instead of the competition.


Cheers,
Wol
--
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Re: mixing notehead styles in chords

[Anthony W. Youngman]

In message <20090325102043.20...@gmx.net>, Tao Cumplido 
 writes

Hi,

just a minor suggestion. 'h' is already a taken name in deutsch.ly, so 
everyone who uses German note names couldn't use your function. I also 
learned this just recently.


Actually, isn't this the normal case for pretty much every European 
language except English?


Being English it feels weird to me, but presumably it's second nature to 
the continentals :-)


Regards,

Tao


Cheers,
Wol
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Re: default margins

[Anthony W. Youngman]

In message , Carl D. Sorensen 
 writes

It would seem to me that it would be better to set maximum-line-width and
minimum-line-width properties.   This would then allow the LilyPond spacing
engine to try adjusting line-width between those limits to see if it could
get better spacing.

And by setting maximum-line-width and minimum-line-width to the same values,
you would have exactly the current behavior.


Just one thing ... isn't the right margin just what's left after you add 
left margin and line width? So altering the line width will alter the 
right margin but leave the left untouched :-(


Maybe we should keep line-width and add "line-width-tolerance - +" which 
will grab HALF the adjustment from the left margin.


Otherwise will we need to rewrite all the margin code?

Cheers,
Wol
--
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Re: default margins

[Anthony W. Youngman]

In message <20090319135340.ga2...@nagi>, Graham Percival 
 writes

On Wed, Mar 18, 2009 at 10:03:42PM -0700, Mark Polesky wrote:


I have! At one point I was frustrated by this very issue
and went through my score library with a ruler. Valentin
mentioned "precise" measurements, but to my surprise,
measured values from any one publisher deviated quite a
lot from score to score, sometimes from page to page.


I think that's part of how page turns work out much nicer in
printed manuscripts than by default in LilyPond.  I was
complaining to my brother about how difficult it was to work out
page turns in one particular piece of mine, and he pointed out
that I was probably using the same margins for every page.

A priori, I would say that changing margins are **not** a good
idea... but since professional typesetters do it, and I never
noticed myself in 25 years of music-playing, I have to admit that
maybe it's a good idea.


I would add to that, as someone who uses lilypond mostly for *parts*, 
not *scores*, that for me page turns are VERY expensive and if tampering 
with the margins makes it easy to reduce/eliminate turns, I'd be very 
happy ...


Cheers,
Wol
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