basic question on bar numbers...

[B~M]

I am trying to typeset an orchestral part for a Viola section I play in.
What they want is bar numbers only at the start of each line.

I searched the repository and couldnt find anything, might this mean I
have to manually enter these bar numbers and if so, how is that possible ?
This didn't seem to be a capability with the bar number engraver, so maybe
just a
\markup containing the number manually at each new line ?

Paul

Re: an "odd" accidental problem...

[B~M]

Dear Thomas, thanks. I was unaware of that override.
It generates exactly what is in the original copy I have.

I am not entirely sure why an E natural could not be used in the setting I
described,
as there, an E natural would be unambiguous about the pitch.
Ive only seen this oddity once. It appeared in the "Fantasy Etudes for
Viola" written by
Lillian Fuchs who was a significant contributor to Viola in the USA.

Thanks for the help and suggestions.

Paul

On Fri, Jul 27, 2018 at 8:40 PM, Thomas Morley 
wrote:

> 2018-07-27 12:49 GMT+02:00 B~M :
> > I have what I think is an odd problem with accidentals.
> >
> > The piece I am working on is a Viola etude in E minor.
> > In the original score the composer needs an E natural and this is
> achieved
> > by a concatenated combination of a natural sign and a flat sign.
> > The note in question is an F, which is sharp in the key signature, so the
> > natural symbol presumably
> > cancels the F#  to F and the flat symbol (alongside the natural symbol)
> then
> > indicates
> > F flat or E natural.
>
> Well, flattening "F" will _never_ result in "E", it's "Fes" or "F flat"
> :)
>
> That said
>
> > Is there please a way to typeset this in Lilypond ?
> > This is the only time I've seen such notation, so Im guessing its rare ?
> >
> > Paul
>
> try:
> {
>   \key e \minor
>   \override Accidental.restore-first = ##t
>   fes''
> }
>
> Cheers,
>   Harm
>
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an "odd" accidental problem...

[B~M]

I have what I think is an odd problem with accidentals.

The piece I am working on is a Viola etude in E minor.
In the original score the composer needs an E natural and this is achieved
by a concatenated combination of a natural sign and a flat sign.
The note in question is an F, which is sharp in the key signature, so the
natural symbol presumably
cancels the F#  to F and the flat symbol (alongside the natural symbol)
then indicates
F flat or E natural.

Is there please a way to typeset this in Lilypond ?
This is the only time I've seen such notation, so Im guessing its rare ?

Paul
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Re: manual beaming in compound time signatures

[B~M]

Thanks Pierre, indeed my code was grubby.

Regards Paul

On Tue, Jul 24, 2018 at 2:43 PM, Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

> Hi Paul,
>
> 2018-07-24 3:46 GMT+02:00 B~M :
>>
>> I used stemLeftBeamCcount and stemRightBeamcount to achieve my aim
>>
>> Is there a cleaner way to do this ?
>>
>> Paul
>>
>
> No AFAIK but there is no need to use manual beamings :
>
> \version "2.18.2"
>
> \relative c' {
>   \clef alto
>   \key  ees  \major
>   \time 6/8
>
>   % measure 44
>   c8( ees4) bes8( ees4)
>
>   % measure 45
>   bes'8.( aes16 g8) aes( ees) c'~
>
>   % measure 46
>   c c, ees
>   \set subdivideBeams = ##t
>   g16(
>   \set stemRightBeamCount = #2
>   f
>   \set stemLeftBeamCount = #2
>   ees des
>   \tuplet 3/2  { c des bes) }
>
> } % end relative block
>
> Cheers,
> Pierre
>
>
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Re: a curious midi problem, or not ?

[B~M]

thanks David, my machine is a MacBook pro laptop running lilypond version
2.18.2
Recently I installed Garage Band which perhaps was not a good idea. It
defaulted to be the app
that opened midi files, Ive since deleted it
I ran lilypond again today and generated the midi/mid. It seems fine now
(the midi) but my conversion
software might be the problem as I ultimately want an mp3 file

Not entirely sure what has happened, my apologies.

Paul


On Tue, Jul 24, 2018 at 1:21 PM, David Wright 
wrote:

> On Tue 24 Jul 2018 at 08:06:19 (+0930), B~M wrote:
> > Dear All, I have encountered an odd problem (I think) with midi
> > file generation. The attached file is just one bar of Viola music.
> > It generates a midi, but the actual viola playing is about 7 seconds, yet
> > the
> > midi continues for about 20 seconds ?
> > Have I missed a command in my *.ly file that terminates the midi at the
> end
> > of the score ?
> > This seems puzzling. For example why is the midi file "white space"
> > continuing for 20 seconds ? where did the 20 come from ?
>
> I downloaded your attachment and ran 2.18.2 on it. The midi file
> is attached and is ~6 seconds long. Debian linux-64 downloaded from
> the LP website.
>
> Which platform? Perhaps you could attach your midi (it's a quarter of
> the size of the LP source).
>
> Cheers,
> David.
>


MidiProblem.mid
Description: MIDI audio
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manual beaming in compound time signatures

[B~M]

dear All, I have been trying to write clean code to
achieve manual beaming in 6/8 time, but my code seems (to me) to be a
grubby hack, there must be a cleaner way.
In one compounded beat of 6/8 time I have 4 semiquavers (or 16th notes)
then in the
remaining time value of 2 semiquavers, I have a triplet. I want the beaming
to show this triplet is a separate, but beamed in group, as is shown in the
PDF.

I used stemLeftBeamCcount and stemRightBeamcount to achieve my aim

Is there a cleaner way to do this ?

Paul


BeamTest.ly
Description: Binary data


BeamTest.pdf
Description: Adobe PDF document
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a curious midi problem, or not ?

[B~M]

Dear All, I have encountered an odd problem (I think) with midi
file generation. The attached file is just one bar of Viola music.
It generates a midi, but the actual viola playing is about 7 seconds, yet
the
midi continues for about 20 seconds ?
Have I missed a command in my *.ly file that terminates the midi at the end
of the score ?
This seems puzzling. For example why is the midi file "white space"
continuing for 20 seconds ? where did the 20 come from ?

Paul


MidiProblem.ly
Description: Binary data
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tweaking the colour of fun bar rests...

[B~M]

I have a simple problem. In a Viola score I include some piano parts with a
cue voice and, to make it
very clear I colour the piano part in blue. in the cue voice I can change
the colour of "most components of the music"
but not a full bar rest ? For example I do there following in the cue voice

\override Stem #'color = #blue
\override Slur #'color = #blue
\override Tie #'color = #blue
\override Rest #'color = #blue

a rest for a crotchet or quaver etc is fine

Is there a name other than "Rest" to which I must use to change the
colour of a full bar rest ?

Paul


Seg2.ly
Description: Binary data


Seg2.pdf
Description: Adobe PDF document
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a specific note head shape for string players

[B~M]

String players sometimes have to put one finger over two strings, but sound
just one.
The finger also stopping an unplayed string is often played later, so this
action is one
of finger preparation. I show this in the attached snippet where I have
used a red note
head to denote the unplayed, but stopped note. Red looks a little vulgar
and loud.
In the Kreutzer 42 Violin studies, this action is indicated with a blank
square, something
like the end marker of a proof in mathematics.
Is there please any way I can change the note heads shown in red to a small
blank square ?

Paul


Seg.ly
Description: Binary data


Seg.pdf
Description: Adobe PDF document
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Re:

[B~M]

Pierre you are a genius !!
Thanks so much, this will be very helpful and I doubt I would have figured
such a solution out.

Kind regards Paul

On Sun, Sep 25, 2016 at 10:12 PM, Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

> Hi Paul,
>
> How about :
>
> %%
> \version "2.14.2"
>
> DB = \downbow
> UB = \upbow
> DUB = -\tweak #'outside-staff-priority #0
>   -\markup {
> \musicglyph #"scripts.downbow"
> \hspace#3 %% <= set space
> \musicglyph #"scripts.upbow"
>   }
> UDB = -\tweak #'outside-staff-priority #0
>   -\markup {
> \hspace#4 %% <= set space
> \musicglyph #"scripts.upbow"
>   }
>
> \relative c' {
>   \time 6/8
>   \clef alto
>
>   % measure 27
>   \pitchedTrill
>   e'2.-2~^\DUB\startTrillSpan fis
>   % measure 28
>   e2.~^\UDB
>   % measure 29
>   e2.~\DB\stopTrillSpan
>   % measure 30
>   \pitchedTrill
>   e2.~\DB\startTrillSpan  f!
>   % measure 31
>   e2.\stopTrillSpan
>   % measure 32
>   \bar "||"
> }
> %
>
> Cheers,
> Pierre
>
> 2016-09-25 13:34 GMT+02:00 B~M <viola1...@gmail.com>:
>
>> Dear All, I would like to add an up bow symbol to the
>> middle of a tie between two notes. The file seg.pdf is a snippet
>> of the problem. In the second tie I would like to place a V to denote
>> up bow. However, the up bow and down bow symbols are attached
>> to notes in the lilypond file.
>> Is there some way I can arbitrarily place a V over the tie with x y
>> co-ordinates ?
>> This is useful for trills over long notes where one runs out of bow.
>>
>> paul
>>
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>>
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[no subject]

[B~M]

Dear All, I would like to add an up bow symbol to the
middle of a tie between two notes. The file seg.pdf is a snippet
of the problem. In the second tie I would like to place a V to denote
up bow. However, the up bow and down bow symbols are attached
to notes in the lilypond file.
Is there some way I can arbitrarily place a V over the tie with x y
co-ordinates ?
This is useful for trills over long notes where one runs out of bow.

paul


Seg.pdf
Description: Adobe PDF document


Seg.ly
Description: Binary data
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Re: Increase distance from staff for dynamics

[B~M]

Thanks Simon.

On Sunday, September 11, 2016, Simon Albrecht <simon.albre...@mail.de>
wrote:

> On 11.09.2016 02:19, B~M wrote:
>
>> Simon is there a similar command which fixes the padding for text
>> spanners, or does the command you posted do that anyway ?
>>
>
> Of course there is a similar command, but the one I posted is an override
> for DynamicLineSpanner, which is a meta-grob taking care of vertical
> alignment of dynamics in a staff. Text spanners are – TextSpanner grobs
> (wow!), so you have to override their padding.
>
> \version "2.18.2"
> {
>   \override TextSpanner.padding = 5
>   c'1-\tweak bound-details.left.text "test" \startTextSpan
>   c'1\stopTextSpan
> }
>
> See <http://lilypond.org/doc/v2.18/Documentation/learning/tweaking-basics>
> and <http://lilypond.org/doc/v2.18/Documentation/notation/the-ov
> erride-command>.
>
> Best, Simon
>
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Re: Increase distance from staff for dynamics

[B~M]

Simon is there a similar command which fixes the padding for text spanners,
or does the command you posted do that anyway ?

Paul

On Sunday, September 11, 2016, Simon Albrecht 
wrote:

> Hi Thiago,
>
>
> On 11.09.2016 00:30, Nao Nao wrote:
>
>> Hi,
>> I'm new to lilypond and I would like to know how to increase the distance
>> between the dynamics markups and the staff. Tried the command below (and a
>> lot similar) but no success. Any ideas?
>>
>> \version "2.18.2"
>>
>> \relative c' {
>>   \override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #5
>>   f d \mp f d | f\< e f e\! |
>> }
>>
>
> This would only work if the dynamics were in a Dynamics context of their
> own (and then you should place the command in a \with block for the
> Dynamics context). Here, however, they live inside the Staff. Try this:
>
> \version "2.18.2"
>
> \relative c' {
>   \override DynamicLineSpanner.padding = 5
>   f d \mp f d | f\< e f e\! |
> }
>
> Best, Simon
>
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Re: intentionally blank cover page ?

[B~M]

Hwaen, Jean, thanks so much for your kind efforts, both of which worked
like a treat.
I was somewhat embarrassed to post such a question, but am very grateful
for the help.

Regards Paul

On Sun, Aug 21, 2016 at 4:28 PM, Hwaen Ch'uqi <hwaench...@gmail.com> wrote:

> Greetings Paul,
>
> When I wish to affect a blank page, I use
>
> \markup \null
>
> So your first bookpart would look like this:
>
> \bookpart {
>
> \markup \null
>
> \pageBreak
>
> \header{}
>
> { MUSIC }
>
> } %End first bookpart
>
> I hope this helps!
>
> Hwaen Ch'uqi
>
>
> On 8/21/16, B~M <viola1...@gmail.com> wrote:
> > Dear All, I have a simple little problem.
> > I have two viola suites, each two pages long. I would like to print these
> > two pieces
> > double sided, but with an intentionally blank first page so there is only
> > one page turn
> > from the first to the second piece in the collection
> >
> > I use (crudely)
> >
> > \book
> > {
> >
> > \bookpart
> > {
> > \header {}
> > music.
> > }
> > \bookpart
> > {
> > \header{}
> > music
> > }
> >
> > } % end book
> >
> >
> >
> > if I use \pageBreak after \book I get the header of the first work on the
> > front page.
> > Is there a simple way just to have a blank first/cover page please ?
> >
> >
> > Paul
> >
>
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intentionally blank cover page ?

[B~M]

Dear All, I have a simple little problem.
I have two viola suites, each two pages long. I would like to print these
two pieces
double sided, but with an intentionally blank first page so there is only
one page turn
from the first to the second piece in the collection

I use (crudely)

\book
{

\bookpart
{
\header {}
music.
}
\bookpart
{
\header{}
music
}

} % end book



if I use \pageBreak after \book I get the header of the first work on the
front page.
Is there a simple way just to have a blank first/cover page please ?


Paul
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[no subject]

[B~M]

Dear All, here is perhaps a silly little question.
I am trying to get a slur from a crotchet "into" one of the voices in a
polyphonic voicing. In measure 1 the third blue note should have a
slur connecting it to the next blue note, which is in the polyphonic part.
I tried ( ) and \( \) with no success, so something special is perhaps
required ?

Also, to avoid continually inserting \tweak #'color #blue
I wrote a function

BN =
#(define-music-function (parser location)()
   #{
 \tweak #'color #blue
   #})

But this won't work in a chord < \BN > or a part with two voices <<{\BN }
\\  {}>> etc.
Is it possible to use a function for this purpose or must the change of
color
be written out each time ?

Kind regards Paul


Snippet.ly
Description: Binary data


Snippet.pdf
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Re: bowing change in a long trill

[B~M]

Dear Rob thanks so much for your help and all the others that helped with
my
little questions. Thanks also for pointing out potential copyright issues.
On this point, perhaps you can educate me. I've transposed several works
Hindemith
wrote for Violin to Viola (studies mostly). Is that a breach of copyright ?
Further, if I take a piece like the Milhaud I posted and I edit it with
fingerings and
minor changes etc, is that also a breach ? I guess these are complex
questions
for lawyers.
In any case I best be careful with this issues.

Paul

On Fri, Aug 28, 2015 at 12:09 AM, Robert Schmaus robert.schm...@web.de
wrote:

 Hi Paul,

 I forgot two more remarks:
 1) great ponding!
 2) you should be careful with sending potentially copyrighted material in
 a list. Not sure if this applies here, but ...

 Best, Rob

 __

 Truth does not change according to our ability to stomach it.
 -- *Flannery O'Connor*

 On 27 Aug 2015, at 09:53, B~M viola1...@gmail.com wrote:

 Dear ALL, I have a long trill in a little viola piece by Milhaud which Ive
 attached.
 The trill continues over two full bars, 27 and 28.
 What I would like to do is add in a change go bow, (an up bow)  but half
 way through the trill
 in 28. Is it somehow possible to do this by specifying the bow direction
 with X Y coordinates etc ?

 Paul

 MilhaudCalifornienne-JM.pdf

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a basic question

[B~M]

Sorry to ask this silly little question. I am writing out SATB harmonies
for a music exam
and Ive decided to colour the bass in blue, just to make it a little more
distinct.
Id like everything about the bass line/voice to be blue, to this end I use

 \override NoteHead.color = #blue
 \override Stem.color = #blue
 \override Accidental.color = #blue
 \override Rest.color = #blue
 \override TextScript.color = #blue


However Ive missed some stuff. If I extend the time duration of a note with
a dot, the dot comes out
as black. Also, if I annotate the note with say a tenuto a-- or an accent
a-^  that stuff comes out black also.
I assume I can change the colour of such stuff but I do not know what its
called.
There must be a \override Something.color = #blue for the annotations Ive
mentioned and the dot duration
extension ?

Paul


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Re: Violin fingering

[B~M]

Pierre that is fantastic work. I tried a very crude routine to mark the -
sign on a finger number like -2 etc...
but nothing as slick as yours.
This is very useful annotation to denote a descending shift from
somewhere down to
a lower position with finger 2. In sight reading string music that makes
what is coming next
very clear. Very helpful.

Regards Paul




On Mon, May 11, 2015 at 6:20 PM, Pierre Perol-Schneider 
pierre.schneider.pa...@gmail.com wrote:

 Here again with a better 'minus' look:

 \version 2.18.2
 #(set-global-staff-size 50)

 plus =
 #(define-music-function (parser location fingering) (ly:music?)
(let ((music (make-music 'FingeringEvent))
  (finger (ly:music-property fingering 'digit)))
  (set! (ly:music-property music 'tweaks)
(acons 'stencil
   (lambda (grob)
 (grob-interpret-markup grob
(make-concat-markup
 (list
  (markup #:lower 0.3 (#:tiny
 +))
  (number-string finger)
 (ly:music-property music 'tweaks)))
 music))

 minus =
 #(define-music-function (parser location fingering) (ly:music?)
(let ((music (make-music 'FingeringEvent))
  (finger (ly:music-property fingering 'digit)))
  (set! (ly:music-property music 'tweaks)
(acons 'stencil
   (lambda (grob)
 (grob-interpret-markup grob
(make-concat-markup
 (list
  (markup #:line
   (#:translate
(cons 0.1 0.5)
(#:override
 (cons (quote
 thickness) 2.2)
 (#:draw-line (cons
 0.6 0)
  (number-string finger)
 (ly:music-property music 'tweaks)))
 music))

 {
   gis'-\tweak ParenthesesItem.font-size #-4 -\parenthesize-\plus-2
   g'-\minus-2
 }

 Cheers,
 Pierre

 2015-05-11 9:47 GMT+02:00 Pierre Perol-Schneider 
 pierre.schneider.pa...@gmail.com:

 Hi Gianmaria,

 How about:

 \version 2.18.2

 plus =
 #(define-music-function (parser location fingering) (ly:music?)
(let ((music (make-music 'FingeringEvent))
  (finger (ly:music-property fingering 'digit)))
  (set! (ly:music-property music 'tweaks)
(acons 'stencil
   (lambda (grob)
 (grob-interpret-markup grob
(make-concat-markup
 (list
  (markup #:lower 0.3 (#:tiny
 +))
  (number-string finger)
 (ly:music-property music 'tweaks)))
 music))

 minus =
 #(define-music-function (parser location fingering) (ly:music?)
(let ((music (make-music 'FingeringEvent))
  (finger (ly:music-property fingering 'digit)))
  (set! (ly:music-property music 'tweaks)
(acons 'stencil
   (lambda (grob)
 (grob-interpret-markup grob
(make-concat-markup
 (list
  (markup #:lower 0.1 (#:small
 -))
  (number-string finger)
 (ly:music-property music 'tweaks)))
 music))

 {
   gis'-\plus-2
   g'-\minus-2
 }

 Cheers,
 Pierre

 2015-05-11 8:41 GMT+02:00 Gianmaria gianmarial...@gmail.com:

 Does exist a 'standard' way to specify violin fingering like -2 or
 +2?

 In fretless instruments we use the notation + or - because for each hand
 position (first position, 3rd position etc.) fingers can occupy two
 different position, low or high.

 For instance in first position, finger 2 on first string most often play
 g
 or g#.

 Best regards, g.


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repeated _\markup{} at same distance from staff...?

[B~M]

Dear ALL, at the risk of great embarrassment, I cannot seem to find what
must be a simple
command to set _\markup{} at a constant offset from the staff, rather than
following the music
up and down etc. I've attached my example which is a simple SATB harmony
showing only the Soprano and
Bass. The chord indications (shown int he first bar only) are the symbols I
want to all be at the same distance from the
staff, not the notes.
There seems to be functions to do this for dynamics to be offset a constant
distance from the staff, but I could
not find a similar command for _\markup (or alternatively ^\markup{}).
Any examples or pointers to the manual ?

Paul


HarmQnExamMay2012-2.ly
Description: Binary data


HarmQnExamMay2012-2.pdf
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Re: repeated _\markup{} at same distance from staff...?

[B~M]

thanks indeed Stephen, its a nice idea to lump the chord symbols into one
rather
than do a \markup to all notes. The Vb is just the first inversion of the
chord, the b is not
a flat symbol.
I guess one thing that puzzled me with the \override  TextScript.padding is
why the outcome didn't just add an further offset but with the same result
of the symbols going up and down following the music.
Perhaps \override means not only override the default offset, but turn off
completely the following
of the music ?

Paul


On Fri, May 8, 2015 at 12:46 AM, Stephen MacNeil classicalja...@gmail.com
wrote:

 Hey paul

 if the markup is all on one it takes only one staff padding. What i mean
 is each markup is based off of what you attach it to. so a trick I do is
 put them in one markup then all you need to do is center under each with
 halign.

 here is an example
 Also i am not sure why you wanted Vb ... but it does say Exam so...

 %%%

 \paper {

 indent = 0

 top-system-spacing #'basic-distance = #10

 score-system-spacing #'basic-distance = #20

 system-system-spacing #'basic-distance = #20

 last-bottom-spacing #'basic-distance = #10

 }

 I = \markup {I}

 IV = \markup {IV}

 V = \markup {V}

 Vb = \markup {V \raise #1 \tiny\flat}

 roman = \markup {\I \halign #-1.5 {\IV} \halign #-1 {\V} \halign #-2.2
 {\Vb}}


 global = {

 \key d \major

 \numericTimeSignature

 \time 4/4

 }


 sopMusic = \relative c'' {

 % measure 1

 fis4\( d cis8[ b] a4

 % measure 2

 b b a2\)

 % measure 3

 e'4\( d8[ e] fis4 g

 % measure 4

 fis4 d e2\)

 % measure 5

 b4\( d8[ cis] b[ cis d e]

 % measure 6

 fis4 e d2\)

 % measure 7

 d4\( b a e'

 % measure 8

 d cis d2\)

 \bar |.

 }


 bassMusic = \relative c {

 \override NoteHead.color = #blue

 \override Stem.color = #blue

 \override Accidental.color = #blue



  % measure 1

 d4_\roman a a cis

 % measure 2

 g g a2

 % measure 3

 e'4 b d g,

 % measure 4

 d' b a2

 % measure 5

 b4 fis g b

 % measure 6

 d a b2

 % measure 7


 d4 b4 g a




  % measure 8


 g a d2



 }

 \score {




  \new ChoirStaff 

 \new Staff = women 

 \new Voice = sopranos {

 \voiceOne

  \global \sopMusic 

 }

 

 \new Staff = men 

 \clef bass

 \new Voice = basses {

 \voiceTwo  \global \bassMusic 

 }

 

 

 }

 HTH
 Stephen

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