Re: Tuplet brackets too short?
At 16:10 19/10/2023 +0200, David Kastrup wrote: ... the results look awful: Shouldn't both tuplet brackets span every notecolumn within the purview of the last note's duration? For what it's worth (I know, I know!), Elaine Gould [Behind Bars, pp. 195/6] seems to distinguish between old and newer practice: *Tuplets ending with the longest duration* Traditionally, the bracket extends only as far as the last written duration. Thus a numeral centred in a bracket occurs before the central duration, making the rhythm unnecessarily difficult to read. It is now usual to extend the bracket to the position of the hypothetical final division of the tuplet, so that the numeral occurs at the rhythmic centre of the group. This makes complex rhythms quicker to read. *Aligning brackets between parts* When the final division of a tuplet is subdivided in some parts but not in others, the bracket ends need to extend only as far as the last duration in each group. This means that brackets may finish at different points. If preferred, all brackets may be extended to the position of the longest bracket. There is a visual logic to this, especially as uniform bracket length will allow the centred tuplet numerals to align vertically. Her subsequent examples seem to follow her "now usual" and "if preferred" style that you espouse. Brian Barker
Re: spacing
At 15:02 07/07/2023 +0200, Valentin Petzel wrote:
The issue with [Lydia Westerberg's] spacing is that the second
measure takes so much space it cannot fit the first system anymore.
Your choices are:
Reduce font size
Use a more narrow font
Increase indent to make first system shorter
Wouldn't another possibility be to stack the problem words sung to
the first note in the second bar?
Instead of
fathers'__doctrines__have__established one
something like:
\markup \column { "fathers' doctrines" "have established" } " one"
Brian Barker
Re: Slurs inside or outside beamed notes
At 11:47 13/02/2023 -0800, Aaron Hill wrote: I am quite used to LilyPond's default handling of slurs with them positioned next to the beam, but should I be following the source engraving with the slurs sit inside so they are closer to the note heads? Does Gould offer advice on this? To your latter question, yes: she says "[The slur] should always remain outside a beam" (Behind Bars, p. 111). Brian Barker
Re: LilyPond-2.22.2 does not work on Windows XP
At 23:51 12/10/2022 +, Dag Bergman wrote: What is the latest version of Lilypond that actually works on Windows XP? I happen to have an old Pentium Windows XP system from about 2004, which I used until about 2017. It has Lilypond 2.18.2 (the then "stable" version?) on it. I've checked, and it still works. Brian Barker
Re: phrase marks ending on tied notes: first vs last?
At 17:30 04/05/2022 -0600, Jeff Olson wrote: ... I'm adding phrase marks ... ... I caught myself sometimes ending the phrase on the first note of a tied pair, and at other times going all the way to the last note of the tie. [...] What would Elaine Gould do? I can answer that bit. "When a final pitch is extended by a series of tied notes, it is acceptable (and a convention) to end the slur with the first whole-bar duration; alternatively, in cramped conditions, with the first tied note. When an initial note is tied, the slur may begin with the final written tied note if absolutely necessary, to save space; however, it is much better to clarify phrase length by starting the slur with the first note." (Behind Bars, p 113) Incidental examples elsewhere in the book follow the same principle: that of having the slur encompass all the notes in the phrase. So she would accept both examples in your first staff, as well as the first example in your second staff - but the second example your second staff only "in cramped conditions". I trust this helps. Brian Barker
Re: bar count not displayed after partial measure followed by forced line break
At 14:36 20/02/2022 -0800, Kenneth Wolcott wrote: I'm not sure I totally understand your response. Evidently so. I'd like to see the bar number displayed on the next line as that is when the incomplete measure is completed. What, please, makes you think I didn't understand that? I indeed hope that with the next release I'll be able to have the bar number displayed automatically or have a mechanism to force it to be displayed. And why do you not think that the snippet I identified does that for you? (You don't need any new releases.) As I said, the 2.23 Notation Reference (which you can easily look up) explains the situation at 1.2.5 Bars. It even provides a snippet that shows you what to do. (I even confirmed that the technique and snippet work in your version 2.22, despite not appearing in the 2.22 documentation.) What happened when you tried that snippet or incorporated it into your work? Brian Barker
Re: bar count not displayed after partial measure followed by forced line break
At 17:16 19/02/2022 -0800, Kenneth Wolcott wrote: bar count not displayed after partial measure followed by forced line break I am engraving some music where there is a partial measure starting the music and later a measure is broken at a line break. To implement this I tried using: \bar "||" \break to display the end of line and then resume on the following line. The completed measure, at the beginning of the line, does not have a bar number displayed. I am using bar checks. Lilypond 2.22.1 I'd find a bare bar number labelling what is an incomplete bar confusing. Indeed, Elaine Gould tells me "Place the bar number on the new system in parenthesis to show that this is not the beginning of the bar" (Behind Bars, p. 490). The 2.23 Notation Reference says (at 1.2.5 Bars) "_Printing bar numbers for broken measures_ By default a BarNumber of a broken measure is not repeated at the beginning of the new line. Use first-bar-number-invisible-save-broken-bars for barNumberVisibility to get a parenthesized BarNumber there." and provides a snippet. I don't see the snippet in the 2.22 documentation, but it does work in that version. I trust this helps. Brian Barker
Re: Version 2.22.1 problem
At 15:32 21/11/2021 -0500, Leonid Hrabovsky wrote: Unfortunately, Run as an administrator option ... It's not necessarily sufficient to "run as *an* administrator", as you put it: you need to use "Run as administrator". ... doesn't help to install - the .dlls are missing I've still not seen the evidence that these files are "missing". You may have permissions problems in the relevant folder. You may need local help to diagnose this. Remember that Lilypond does install seamlessly for others. Brian Barker
Re: Version 2.22.1 problem
At 12:33 21/11/2021 -0500, Leonid Hrabovsky wrote: ... Windows version 2.22.1 ? There are two .dll missing and install fails so far. At 12:52 21/11/2021 -0500, Leonid Hrabovsky wrote: My Windows version is 8. (Out of support for five years or more.) The errors are: "Error opening file for writing: C:\Program Files (x86)\LilyPond\usr\ bin\libexpat-1.dll Click Abort to stop the installation, Retry to try again, or Ignore to skip this file." "Error opening file for writing: C:\Program Files (x86)\LilyPond\usr\ bin\libffi-6.dll Click Abort to stop the installation, Retry to try again, or Ignore to skip this file." There is nothing here about the files being missing - only insufficient permission to write to them. Did you install with administrator permission? Right-click the installation file and choose "Run as administrator". That's how you install programs under Windows. Brian Barker
Re: Having problems with phrasing and ties combined
At 14:55 14/09/2021 -0500, Carlos Martinez wrote:
...
\slashedGrace { e8\downbow } ~2\(8 8\)--\downbow |
But I am getting an error
Er, what error?!
I can't seem to get what the problem is?
In your e-mail message, that prime after the first "fis" is a smart
apostrophe (close quote) instead of the straight prime it should be.
Is that your problem?
Brian Barker
Re: Placement of dynamic hairpins under chords with seconds
At 11:59 06/08/2021 -0700, Knute Snortum wrote: I have a minor quibble. If you have a dynamic hairpin under a chord with a second interval, the hairpin extends a little to the left (to cover the whole chord?) I think it should only extend to the stem. I'm not an expert in engraving but the sheet music I've seen seems to back this up. What do you guys think? Does Elaine Gould count as a "guy"? She says "A hairpin should start at the first relevant notehead (not accidental) and end with the following notehead or at the first rest thereafter. Good practice is to start the hairpin on the left-hand edge of the note and to finish it on the right-hand edge of a note" (Behind Bars, p. 104). She doesn't include examples of what she calls "adjacent-note chords", but her examples of notes with stems up show the hairpins starting at the left of the first notehead, not the stem. If you put \stemUp into your second example, you will see that Lilypond follows this principle. Brian Barker
Re: Trouble with my Piano-Scores
At 20:43 14/06/2021 +0200, Robert Blackstone wrote:
... the next one with exactly the same score had, according to the
console, two serious errors:
... error: EOF found inside a comment
... error: syntax error, unexpected end of input
[...]
Can any of you see what is wrong here and what must be changed to
make it work?
I don't think there is anything wrong with what you have quoted. I'm
guessing that you have a commented line somewhere that happens to
start with an open-brace. That %{ constitutes the start of a "block
comment", which continues across multiple lines until you have a
corresponding %} to end the block. If it happens that you do not have
any such occurrence, any material after the %{ will be ignored, and
Lilypond will complain that the end of your text file occurs both
within a comment and possibly at an irrational point in your code.
I trust this helps.
Brian Barker
Re: convert-ly
At 20:26 03/06/2021 +0200, Hans Aikema wrote: Ah you're right on that, overlooked the first entry. But fairly certain that the statement on not interpreting the wildcard holds (It's a difference between Windows and shells like bash that is often overlooked - in bash the shell takes care of expanding the wildcard to a list of files matching the pattern. On windows the shell passes the wildcard parameter unchanged to the invoked application. Appears to be an error in the documentation indeed. Thanks for correcting my misreading. But thank *you* for eventually clarifying the matter! Brian Barker
Re: convert-ly
At 07:22 03/06/2021 +0200, Hans Aikema wrote: the convert-ly script does not interpret wildcards, but requires the file explicitly. The way you call it makes it look for a file that is named *.ly (which can never be present as * is not an allowed character for a filename) Thanks for this. As documented on https://lilypond.org/doc/v2.22/Documentation/usage/invoking-convert_002dly you need to use the 'forfiles' windows command to run the conversion for multiple files using a wildcard: forfiles /s /M *.ly /c "cmd /c convert-ly.py -e @file" But that resource claims that this command is required only for searching subdirectories of the current directory, and that convert-ly.py -e *.ly works for all .ly files in a directory. Can we agree, then, that this is wrong and that (in Windows) the forfiles command but without the /s parameter is required even for handling all .ly files in a single directory? Oh, and that the copy of convert-ly installed in version 2.22 in Windows has to have its name corrected (to convert-ly.py) for anything to work? Brian Barker
Re: convert-ly
At 15:18 31/05/2021 -0700, Knute Snortum wrote: Then rename convert-ly to convert-ly.py. Windows won't be able to know that it's a Python program otherwise. *Again*, I don't have this problem: I'm just trying to encourage accurate responses to others. Did you not notice that I suggested this renaming earlier? (Yes: really, I did!) You cannot "check that ... convert-ly.py ...[is] in that folder" when it isn't. Brian Barker
Re: convert-ly
At 13:38 31/05/2021 -0700, Knute Snortum wrote: First off, you have "C:\Program Files (x86)\LilyPond\usr\bin" in your path. Check that the path exists (use File Explorer) and check that both convert-ly.py and python.exe are in that folder. That was my earlier point. No, the file placed there in the 2.22 Windows installation is named convert-ly, not convert-ly.py. That's the questioner's problem - or at least one of them. Brian Barker
Re: convert-ly
At 11:04 31/05/2021 -0700, Knute Snortum wrote: I suggest you rename the file to that, ... For what it's worth, I didn't have this problem: that was Jerry Starks. Is he now happy? I was merely concerned that I was watching a conversation that seemed to include no doubt well-intentioned but misleading responses, including simple reference to the inaccurate documentation. Brian Barker
Re: convert-ly
At 09:17 31/05/2021 -0700, Knute Snortum wrote: On Mon, May 31, 2021 at 8:25 AM Brian Barker wrote: At 09:31 31/05/2021 -0400, Tim Slattery wrote: On 30 May 2021 at 17:50, JxStarks wrote: Hi Ralph, I read that documentation and tried it. I'm running Windows 10 Pro, 10.0.19041 and I still get the same response: " 'convert-ly is not recognized...". Am I missing something obvious? I think so. The name of the file is convert-ly.py, ... Are you sure? In my Windows 10 installation of Lilypond 2.22.1, the only file called "convert-ly" (in C:\Program Files (x86)\LilyPond\usr\bin) has no extension. Is this an error? When you type a command, the OS will look for a file of that name with any of several extensions that it knows about: *.exe, *.bat, *.cmd, *.lnk that sort of thing. It doesn't know about the *.py extension, so you have to type it in as part of the command. Don't you first have to correct the name of convert-ly to what it should have been: convert-ly.py? Or what did I do wrong at installation time to cause this? I don't think you caused anything. I think it's this way in the 2.22 installation. I don't know if it's intentional or not. Since your system doesn't recognize python as an executable, you'll have to launch it from python. Type "python --version" to see if python is in your path. If so, type "python path\to\convert-ly ..." or create a script. So (to answer the original enquirer's question) do we agree that the 2.22 documentation about the use of convert-ly under Windows at https://lilypond.org/doc/v2.22/Documentation/usage/invoking-convert_002dly is wrong? Brian Barker
Re: convert-ly
At 09:31 31/05/2021 -0400, Tim Slattery wrote: On 30 May 2021 at 17:50, JxStarks wrote: Hi Ralph, I read that documentation and tried it. I'm running Windows 10 Pro, 10.0.19041 and I still get the same response: " 'convert-ly is not recognized...". Am I missing something obvious? I think so. The name of the file is convert-ly.py, ... Are you sure? In my Windows 10 installation of Lilypond 2.22.1, the only file called "convert-ly" (in C:\Program Files (x86)\LilyPond\usr\bin) has no extension. Is this an error? When you type a command, the OS will look for a file of that name with any of several extensions that it knows about: *.exe, *.bat, *.cmd, *.lnk that sort of thing. It doesn't know about the *.py extension, so you have to type it in as part of the command. Don't you first have to correct the name of convert-ly to what it should have been: convert-ly.py? Or what did I do wrong at installation time to cause this? Brian Barker
Re: Placing arc's beneath text
At 20:15 25/03/2021 +0100, Jogchum Reitsma wrote: In placing two text elements (words, or syllables not belonging to the same word) under one note, I'd like to place an arc under these text elements. Any one knows if that can be done in Lilypond, and if yes, how? Lilypond calls this a "lyric tie". All you need is a swung dash (sometimes referred to as a tilde) between the syllables. See https://lilypond.org/doc/v2.20/Documentation/notation/common-notation-for-vocal-music#multiple-syllables-to-one-note . Brian Barker
Re: test.ly fails on Windows 10
At 08:20 23/03/2021 +, Phil Holmes wrote: On 23/03/2021 02:05, Bruce Pike wrote: I installed Lilypond 2.22.0 on Windows 10, then attempted to execute the install test described in test.ly. The test failed; the file test-tmp-9203207 appeared on the desktop, but not test.pdf. I get the same. I suspect this is now a "feature" of windows' arcane permissions settings. Hold on! So how does it work for me - also under Windows 10? Brian Barker
Re: explicitClefVisibility
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
Re: Accidental placement with simultaneous music
At 09:11 21/02/2021 -0600, John Schlomann wrote: I'm probably missing a simple fix for this. In the following example the natural sign on the f4 in the first voice is placed to the left of the a4 in the second voice. I can't seem to find a way to fix this. Or is this considered acceptable? Elaine Gould suggests this *is* correct: "_Accidentals in double-stemmed writing_ Place accidentals before both parts, except for altered unisons..." (Behind Bars, p. 90) Brian Barker
Re: Partial ottava sign
At 11:17 19/02/2021 -0500, Kieren MacMillan wrote: At 15:35 19/02/2021 +, Peter Toye wrote: Is there an accepted way of notating an ottava sign for only part of a staff? I have a two-handed chord of which the LH part needs to be an octave lower than notated, but the RH part is at pitch. I realise that this isn't really a LilyPond question but a general music engraving one (it may turn into a LilPond question depending on the answer, though).. Do you have "Behind Bars" by Elaine Gould? It's kind of the definitive starting place for all such questions --- and an essential (I believe) addition to any engraver's library. And the answer is on page 325: "An octave sign applies to all parts on a stave. A note written with an octave transposition should not share a stave with a note to be played simultaneously at pitch (_loco_) if there is a feasible alternative layout. Transfer either the _ottava_ or the _loco_ pitches to another stave. If necessary, add a third stave for this. Where there is not room for a third stave, the occasional octave-transposed note may be placed in the same stave as notes played at pitch, provided that the extent of the octave transposition is absolutely clear. For clarification, extend a dotted line vertically to encompass occasional octave-transposed pitches; for occasional notes written at pitch, extend a horizontal dotted line after _loco_ for the relevant duration." Brian Barker
Re: Page number position
At 11:44 13/08/2020 +0200, Mario Moles wrote:
But that's not what I was looking for! I want to move the odd page
numbers instead of the even ones and vice versa. It can be done?
Sorry, but this is even less clear! You want to move the odd page
numbers to the left, but not change the even page numbers? I
understand that. But now "and vice versa"! So you also want to move
the even page numbers to the right but not change the odd page
numbers? If so, you are contradicting yourself.
Do you just want everything reversed - so that odd-numbered pages
(normally rectos) have the page numbers on the left and even-numbered
pages (normally versos) have them on the right? If so:
\paper {
keep = \evenHeaderMarkup
evenHeaderMarkup = \oddHeaderMarkup
oddHeaderMarkup = \keep
}
Brian Barker
Re: Page number position
At 13:39 12/08/2020 +0200, Mario Moles wrote: How to move the page number from right to left? If you just want all page numbers on the left, it could be as easy as: oddHeaderMarkup = \evenHeaderMarkup Brian Barker
Re: adjusting vertical positions of start and end of tie
At 15:59 06/08/2020 -0700, Aaron Hill wrote:
On 2020-08-06 3:34 pm, Werner LEMBERG wrote:
Look at this example
\relative c' {
\clef "alto" d'2 \tweak positions #'(8 . 4) ~
\clef "treble" d2
}
The `\tweak positions` doesn't work which is
kind-of expected. However, for this very
situation it would be nice if I could change
the start and end position of the slur manually.
Of course, it would be even better if LilyPond
could handle this situation automatically :-)
I have never encountered this scenario before, so I am quite curious.
What is the correct behavior? (I need to pick
up a copy of Gould's book, though that presumes she has addressed this.)
She has - on page 9.
I see at least three options:
- The tie should be sloped like a slur.
- The tie should be split into a two halves
(possibly dotted/dashed), each half attached to
the terminal notes but individually still
horizontal to keep it distinct from a slur.
- The tie should be rendered as a \laissezVibrer and \repeatTie combination.
Gould writes "Avoid changing a clef during a tied
note, as the tie will look cumbersome. If this
cannot be avoided, the clef is best changed at a
system break". She gives three examples:
o "recommended" has the tie split across a system
break at the same vertical position, with the
clef change delayed until after the second part of the tied note.
o "acceptable" has the clef change at the system
break, with each part of the tie being horizontal
and appropriately positioned to its note - in
different positions vertically, that is.
o "incorrect" has a tie winding its way from one
vertical position to another, in the process wrapping around the new clef sign.
See https://preview.tinyurl.com/tieClefChange (page 9).
Brian Barker
Re: Adding a line break on \breve note
At 04:40 25/05/2020 -0700, Frimlik Cage wrote:
is there a simple way, how to do a line break (in lyrics) on \breve note?
Try:
\markup {
\column { "Lorem ipsum dolor sit amet, consectetuer adipiscing elit."
\line { "Etiam commodo dui eget wisi. Nunc auctor." }
}
} Su -- spen -- di -- sse.
Is this helpful?
Brian Barker
Re: [Scheme coding] turning a list into a markup/string
At 17:03 21/01/2020 -0500, Kieren MacMillan wrote: ... it seemed a wonderfully magical start out of the gate, but we were ultimately unable to take it to the goal-line. Also, I mixed my sporting metaphors in that sentence; oh well. That's nothing: a moment ago we had someone playing football whilst fishing up a mountain! Brian Barker
Re: Fyi: this list, lilypond-user, just had its subject [tag] and footer removed
At 21:38 24/10/2019 -0400, Matthew Skala wrote: On Thu, 24 Oct 2019, sysad...@gnu.org wrote: Any list administrator for this list is free to change these settings back, instructions are below. I hope that it will be changed back. The subject tag is useful for automatic categorization of incoming messages. But surely this list currently had no subject *tag*? Brian Barker
Re: note spacing
At 18:50 20/10/2019 -0700, Mark Stephen Mrotek wrote: A setting of a treble (Hours-treble) 12 measures are spread over three lines -- 4 measures per line. When the bass is added (Hours with bass) the 12 measures are compressed into two lines. The first line indent for your piano staff appears to be smaller than that for the single staff. Does that make the difference? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Drinking song symbols
At 22:01 17/09/2019 +0200, Karl Hammar wrote: ... I made a little wineglass symbol where in the song you are to take a drink, as in bar 14 in: http://aspodata.se/choir/ud/k%C3%A4y_metsolan_halki/k%C3%A4y_metsolan_halki.pdf ... The first basses won't get much drinking done during a vivace crotchet, especially as they have to squeeze a breath in as well! Why do the other voices get five times as long to get tipsy? I think we should be told ... Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spanish user mailing list
At 07:23 01/06/2019 -0400, Ralph Palmer wrote: I'm in communication with a Spanish-speaking potential user of LilyPond and Frescobaldi. I cannot find a link to the Spanish mailing list for either LilyPond ... Go to Lilypond | Community | Contact. At the bottom of the left panel, under "Other languages", see "Spanish mailing list": https://lists.gnu.org/mailman/listinfo/lilypond-es . ... or Frescobaldi. Is there one? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Only show the opus number once when there are multiple score blocks
At 16:59 24/02/2019 +1100, Robert White wrote:
I have a Lilypond file with two score blocks like the following:
\version "2.18.2"
\header {
title = "Two minuets"
opus = "Op. 1"
}
\score {
\header {
piece = "No. 1: Minuet in D major"
}
% Music here...
}
\score {
\header {
piece = "No. 2: Minuet in G major"
}
% Music here...
}
The problem is that the opus number is shown for every score block.
How can I make Lilypond only show it once?
Two workarounds:
o Insert
opus = ""
in the headers blocks of all score blocks except the first. This
doesn't quite work, as the remaining opus prints as part of the first
score, on the same line as the first piece. But you could choose
instead to abandon opus and use
title = "Two minuets, Op. 1".
o Omit opus from the global header and modify the score block headers
to include:
piece = "Op. 1 No. 1: Minuet in D major"
and
piece = "Op. 1 No. 2: Minuet in G major"
Brian Barker
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Re: Non-integer tempo marking
At 12:48 23/02/2019 +1100, Tsz Kiu Pang wrote: I am just wondering if there is a way to have a non-integer tempo marking (e.g. crotchet = 72.5)? How about \tempo 8 = 145 ? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GrandStaff vertical distance
At 14:40 17/10/2018 -0500, David Wright wrote: The # wiki notes that British Telecom used the term "square" for hash at one time. Surely not? Rather, they presumably used the term "square" for square - which is what was on the spare key on early designs of keyboard now occupied by the hash character. See http://www.britishtelephones.com/t94xx.htm . I guess this was before the British public had an unambiguous name for it, "pound" being verboten, ... Indeed: "pound" would have been as silly as "dollar" or "yen" or whatever. ... "number" rare, ... UK usage is "No.", of course. ... and "hash" not quite proper in polite society. Really? Always appropriate in my company! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Figured Bass discrepancy with Manual Lilypond & lyLuaTeX
At 00:09 11/08/2018 -0400, Nobody Noname wrote:
From the Lilypond manual,
"http://lilypond.org/doc/v2.19/Documentation/notation/figured-bass;
I use the following code for figured bass.
(The code is 3-steps above "Predefined commands" at the end)
\new Staff = "myStaff"
\figuremode {
<4>4 <10 6>8 s8
<6 4>4 <6 4>
}
%% Put notes on same Staff as figures
\context Staff = "myStaff"
{
\clef bass
c4 c'8 r8 c4 c'
}
If I compile it with Lilypond I get the attached image image-1 and
with lyluatex I get attached image-2. Both image-1 and image-2
disagree with what the manual shows the code should output. What do
I do wrong ? [...]
You arbitrarily omitted the double angle brackets shown in the
example, which indicate simultaneous expressions.
Brian Barker
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Re: Lilypond & Halfdiminished/Diminished symbols.
At 00:54 06/08/2018 -0400, Nobody Noname wrote:
Nowhere in the manual can I figure out what the commands are to get
the half and diminished symbols in Lilypond.
See
http://lilypond.org/doc/v2.19/Documentation/notation/displaying-chords
and
http://lilypond.org/doc/v2.19/Documentation/notation/common-chord-modifiers .
\version "2.18.2"
chordmusic = \relative c' {
\chordmode {
c1:dim c1:m7.5-
}
}
<<
\new ChordNames {
\chordmusic
}
{
\chordmusic
}
>>
I trust this helps.
Brian Barker
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Re: Lilypond is not generating a pdf file
At 06:57 28/05/2018 -0700, Aaron Hill wrote: At 08:07 27/05/2018 +, Peter Horan wrote: I have previously used Lilypond on an older machine using Vista. This machine is new, running Windows 10. After installation, dropping test.ly onto the Lilypond short cut creates a test.log file but no pdf file as expected. It looks as though Lilypond is silently quitting before drawing everything. The contents of test.log are: # -*-compilation-*- Processing `D:/Peter/Desktop/test.ly' Parsing... Interpreting music... Preprocessing graphical objects... Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... The closest similar behavior I have seen to this is when I am trying to regenerate a PDF but that PDF is currently open in another program. Then due to a sharing violation, LilyPond is unable to write to the file. Indeed so. But, for the avoidance of doubt, when this happens, my Lilypond under Windows 10 shows four more lines in the log file, including one explaining that Ghostscript failed to create the PDF file - and anyway leaves behind the intermediate Postscript file. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grace Notes size
At 08:42 27/05/2018 -0700, Aaron Hill wrote: For reference, what you are seeing is a line endings issue. Windows' Notepad has always been famously and notoriously bad in this regard, as it only supports the carriage-return/line-feed (CRLF) combination for delimiting lines. [...] Most modern text editors are more aware of cross-platform issues and alternate encodings, so they will detect line endings and render appropriately. For example, Notepad++ is a great choice on Windows, if you want a more featured but still relatively lightweight editor. Windows' bundled WordPad is another possibility. If a user prefers plain Notepad, opening a text file first in WordPad and simply saving it again will expand the line endings such that Notepad will understand them. Tedious but effective. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Different time signature on different staff
At 11:17 16/04/2018 -0400, Ming Tsang wrote: My code did not produce the expecting of time 6/8 on the first staff. What shall I code to correct this. See "Different time signatures with equal-length measures" and "Different time signatures with unequal-length measures" under "Polymetric notation" at http://lilypond.org/doc/v2.19/Documentation/notation/displaying-rhythms#polymetric-notation . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Page numbers with "Page"
At 19:20 03/04/2018 +, David Bobroff wrote:
I want to put page numbers centered at the bottom of each page with
the word "Page" before the number. I found this code in the docs
which gets me halfway there but I don't know what to do to add
"Page" before each number. The closest I've managed to come to a
solution results in "Page" being in the lower left corner with the
page number in the lower right corner.
-David
\version "2.18.2"
\book {
\paper {
print-page-number = ##t
print-first-page-number = ##t
oddHeaderMarkup = \markup \null
evenHeaderMarkup = \markup \null
oddFooterMarkup = \markup {
\fill-line {
\on-the-fly \print-page-number-check-first
\fromproperty #'page:page-number-string
}
}
evenFooterMarkup = \oddFooterMarkup
}
\score {
\new Staff { s1 \break s1 \break s1 }
}
}
But there is no "Page" at all there!
Perhaps:
oddFooterMarkup = \markup {
\fill-line {
\line {
"Page "
\on-the-fly \print-page-number-check-first
\fromproperty #'page:page-number-string
}
}
}
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Re: Storing movement titles as a variable
At 14:35 01/04/2018 +1000, Craig Dabelstein wrote:
Is it possible to store movement titles as a variable? e.g.,
movtI = { \markup{I. Allegro} }
movtII = { \markup{II. Adagio} }
\header{
piece = \movtI
}
So far I haven't been able to get this to work. Any ideas?
Is there any reason why you cannot use:
movtI = "I. Allegro"
movtII = "II. Adagio"
\header{
piece = \markup \movtI
}
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Re: Define nr of measures per system
At 18:16 06/03/2018 +0100, Omri Abram wrote:
Another beginner question, but can't seem to find the answer in the
documentation: is it possible to define a constant number of
measures per staff system?
The Notation Reference (at 4.3.1) suggests:
For line breaks at regular intervals use \break separated by skips
and repeated with \repeat.
For example, this would cause the following 28 measures (assuming 4/4
time) to be broken every 4 measures, and only there:
<<
\repeat unfold 7 {
s1 \noBreak s1 \noBreak
s1 \noBreak s1 \break
}
{ the actual music... }
>>
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Re: Missing messages [was: Stem forced to be at the right (or left) of the notehead]
At 22:46 02/03/2018 +0100, Thomas Morley wrote: Though, in the past, mails from Yahoo, distributed by the mailing-list, were put into my spam-folder by gmail. Obviously this changed 2 or 3 days ago. Now I receive nothing... You are lucky: my mail provider has been rigorously following the "reject" instruction for ages. And others have, too: many choir members did not see circulars from the chairman when he wrote via the choir list also run my Mailman from his AOL address. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Missing messages [was: Stem forced to be at the right (or left) of the notehead]
At 13:25 02/03/2018 -0700, Thomas Morley wrote: Paolo Prete wrote ... For unknown reasons I don't see your posts on the mailing-list, ... Neither do I. But I can help there: it's all down to Domain-based Message Authentication, Reporting and Conformance (DMARC). This is a comparatively new system whereby mail domains can publish information to confirm or otherwise that messages are genuinely sent from a mail server maintained by that domain. Paolo Prete's mail domain appears to be yahoo.it, and Yahoo is one of the sending domains that uses this system. If he sent to you directly, everything would work OK and Gmail would accept the message. The problem arises with mailing lists. The server forwarding the message - in this case Lilypond's - is not a proper source for @yahoo.it messages, of course, so Gmail quite properly rejects list messages claiming to be from Yahoo addresses as spoofed. (As it happens, so does my mail provider.) If it is configured properly, mailing list software can arrange headers so that the receiving system - Gmail's in your case - sees his Yahoo server as the originator instead of the mailing list's. The problem is that most list software available when this protection was introduced was incapable of being properly configured. To avoid this effect, Lilypond may need to update the list software (apparently Mailman 2.1.21) or maybe just configure it differently. See https://en.wikipedia.org/wiki/DMARC - which includes "In April 2014, Yahoo changed its DMARC policy to p=reject, thereby causing misbehavior in several mailing lists." and https://wiki.list.org/DEV/DMARC for details of Mailman's behaviour. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: where to download the "2.19.81" binary for windows
At 08:11 29/01/2018 +0800, Mosea Chen wrote: As the "The requested URL /lilypond/binaries/mingw/lilypond-2.19.81-1.mingw.exe was not found on this server.", where else can i get it? Go to http://download.linuxaudio.org/lilypond/binaries/mingw/ . Scroll down to the bottom. You will see the latest version offered is lilypond-2.19.80-1.mingw.exe. Will that do? This is true for other operating systems, too. Has the parent page been updated to 2.19.81 without this version being available? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transcriber title
At 01:17 22/01/2018 +0100, Álvaro Cáceres Muñoz wrote:
I am transcribing Jacob Collier's arrangement of
I've Told Every Little Star. Normally I make my
own arrangements of songs, so I write in the
"composer" and "arranger" titles. However, here
I would need to name the original composer
(Jerome Kern), the arranger (Jacob Collier) and
the transcriber (me). I have looked at the
Lilypond manual, but I can't find a specific
title for the transcriber. Is it possible to
create a specific field for the transcriber?
You may not need to. How about something like:
\version "2.18.2"
\header {
composer = "Composer: Jerome Kern"
arranger = \markup {
\column {
\fill-line { " " "Arranger: Jacob Collier" }
\fill-line { " " "Transcriber: Álvaro Cáceres Muñoz" }
}
}
}
{ s1 }
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Re: [Lost messages]
At 16:08 18/10/2017 +0200, David Kastrup wrote: By now you should have realized that Mails to lilypond-user do not, as a rule, get lost ... Ho, ho! Many of mine have. ... and reposting them several times does not help. That's very probably true, though - and I don't attempt that solution. At 11:38 18/10/2017 -0500, Karlin High wrote: But anyway, is anyone else using Thunderbird, and never having any lost messages at all? I use Eudora and some messages do get lost. (Yes, I know Eudora is old, but I tried Thunderbird did not provide what I needed, so I'm looking for another client.) In my experience, it is a fool's errand to try fixing problems of this nature. I found an administrator who, after some delay, explained, in effect, that he couldn't help and that there was no-one who could! I wonder if this message will reach the list ... Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making parts : specific number of measures per line?
At 19:00 06/08/2017 -0400, Molly Preston wrote:
Ok I've been messing with this and I realize that where I have s1*13
at m.86 it seems to print out 15 measures instead and doesn't
generate an error. It prints out 12 measures on one line at m.98. I
don't understand how it's counting?
\version "2.18.2"
layoutContent = {
\repeat unfold 11 { s1*6 \break } %m1-66
s1*8 \break | %m67-74
s1*11 \break | %m75-85
s1*13 \break | %m86-97
s1*15 \break | %m98
}
fluteMusic = {
g4 r r2 | %m86
R1* 5 | %m87-91
r2 r\fermata | %m92
\bar "||"
\key c\major
\time 3/4
R2.*4 ^"Presto" | %m93-96
g,2.~ \ff | %m97
}
\score {
\new Staff <<
\new Voice {
\compressFullBarRests
\fluteMusic
}
\new Voice {
\layoutContent
}
>>
}
o 85+13 is 98, not 97.
o As provided, your fluteMusic starts at bar 1, not bar 86.
o s1 has the length of a semibreve ("whole note"), not a full bar
("measure") - so after your time signature change to 3/4, each s1
lasts longer than a bar. So s1*13 needs to be s1*7 | s2.*6 to account
for the change to 3/4.
(Er, I suggested privately that your problem might be a change to the
time signature, but you denied you had one!)
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Re: MsLily - LilyPond Add-In for Word
At 15:28 18/07/2017 +0200, Martin Tarenskeen wrote:
And instead of "c d e f"
I'd rather see "{c d e f}"
Surely "{ c d e f }" ?
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Re: Editorial ties
At 17:42 04/06/2017 -0400, Giampaolo Orrigo wrote: I would like to know if someone already found a way to engrave editorial ties, as used in more modern editions of early music, i.e. solid tie with a little vertical line in the middle. Does this help? http://lilypond.1069038.n5.nabble.com/Editorial-ties-in-scheme-td54223.html Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: RE;re; beaming with cadenzaOn
At 03:47 01/06/2017 -0700, Sam Frybyte wrote: Date: Wed, 31 May 2017 18:29:51 +0100 From: Brian Barker <b.m.bar...@btinternet.com> Just as you would beam any other notes: follow the a8 with a left bracket "a8[" and the ges8 with a right bracket "ges8]". It doesn't work. It does for me - and clearly also for Mr Holmes. I tried this and at least in version 2.18.2 nothing happens ... For what it's worth, it works for me in 2.18.2. Unless you mean I must include the quotation marks? No. Otherwise without the marks nothing happens. You must be doing something different; I cannot guess what this may be. Are you sure you are putting both the brackets exactly where suggested? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beaming with cadenzaOn
At 10:16 31/05/2017 -0700, Sam Frybyte wrote:
If there is a time signature the beaming of 8th notes with
acciaccaturas between them is created as I expect.
in version. 2.18.2
with \cadenzaOn
\stemUp\acciaccatura c'8 \stemNeutral a8
\stemUp\acciaccatura b8 \stemNeutral ges8
\times 2/3 {f16 [des des]} des4
I have not been able to figure out or find a way for the 8ths to be beamed.
Just as you would beam any other notes: follow the a8 with a left
bracket "a8[" and the ges8 with a right bracket "ges8]".
If you wrote your triplet as { f16[ des des] } you might see more
readily how the notation works: the brackets do not enclose anything
but separately follow the notes to which they apply.
I trust this helps.
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Re: placing "opus"
At 08:17 28/04/2017 -0700, Mark Stephen Mrotek wrote:
I can get everything but to the opus under the composer. My code is attached.
composer = \markup \center-column { "E. MacDowell" "Op. 51" }
Warning it contains more than 10 lines.
;^)
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Re: 2.19.59 mingw binary: virus false positive?
At 23:26 23/04/2017 +0200, Michael Käppler wrote: I just installed LilyPond 2.19.59 mingw binary on my machine and my antivirus scanner Avira Free Antivirus Version 15.0.25.172 21.03.2017 Searching engine 8.03.44.42 20.04.2017 Signature file 8.12.164.198 23.04.2017 complains about having found the "TR/Crypt.XPACK.Gen" virus in two bundled files: /usr/bin/_hotshot.dll /usr/bin/_multibytecodec.dll Anybody experiencing the same issue? Apparently so. See http://lists.gnu.org/archive/html/lilypond-user/2017-04/msg00222.html . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Elysium broken link
At 01:08 31/03/2017 +0200, Martin Tarenskeen wrote: Searching for Esysium, (LilyPond IDE for Eclips), I'm getting a 404 on the link http://elysium.thsoft.hu/ I found this (broken?) link on http://lilypond.org/doc/v2.19/Documentation/web/easier-editing So what happened to this Elysium website? You might want contact its author; see http://thsoft.hu/en/Contact/ . Doesn't https://github.com/thSoft/elysium have what you need? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Incorrect note alignment
At 19:23 16/11/2016 +0100, Joram Noeck wrote: Still, I would not over-interpret Behind Bars. If Gould states it explicitly: ok, but the examples are also done with some program, I guess. In case there is a detail she does not care enough, there can be cases where she accepts the program's default output without saying that other solutions are necessarily bad or wrong. I replied earlier - but, as so often, my message was not posted by the list. I think David Sumbler is misreading Gould. As I see it, the illustration he mentions on page 10 is intended just to show that the semibreve is slightly wider horizontally than a black notehead - the point Gould has just made in the text. Her actual examples (there is one at the bottom of page 36) seems to show the left-alignment that he criticises. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Curious thing about ties
At 21:09 14/11/2016 +0100, Robert Schmaus wrote: something I just came across while pondering away: in the following snippet, there are two ties across barlines. [...] I've wondered why in the first instance, the tie is a down-tie, while in the second it's an up-tie (see attached screenshot). (Your snippet doesn't match your output, in fact.) If you repeat the motif, the ties appear to alternate down, up, down, up ... Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Voice and lyrics momentary separation
At 18:00 03/10/2016 +0200, Ziad Gholam wrote: Unfortunately, I could not find the 2.19.48 release (on URL http://lilypond.org/windows.html) in order to download it. Go back to the front page and follow the Unstable Release link on the right. What you need is http://download.linuxaudio.org/lilypond/binaries/mingw/lilypond-2.19.48-1.mingw.exe . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: circle of fifths
At 03:04 06/09/2016 +, Ming Tsang wrote:
I found LSR circle of fifths. It is in \language "deutsch" by Manuela
http://lsr.di.unimi.it/LSR/Snippet?id=1040
I tried to make / adapt for language "english", but having hard time
to generate. Can someone make this circle of fifths for "english"?
Something like this?
I trust this helps.
Brian Barker
\language "english"
%%
%% http://lsr.dsi.unimi.it/LSR/Item?id=1040
%% created by Manuela
%% thanks to the German forum http://www.lilypondforum.de
%% feel free to change and distribute
%%
%% draw a circle of fifths with Lilypond
%% in the style like here
https://commons.wikimedia.org/wiki/File:Quintenzirkeldeluxe.png
%% you can use more Scheme if you like
%% e.g. drawing the ticker lines with whitening cirle as one graph
%% needs no include files
%% creating the score snippets
%% we remove some items not needed
\layout {
indent = #0
\context {
\Staff
\omit TimeSignature
\omit BarLine
explicitClefVisibility = #end-of-line-invisible
explicitKeySignatureVisibility = #end-of-line-invisible
\remove "Accidental_engraver"
}
\context {
\Voice
\omit NoteHead
\omit Stem
}
\context {
\Score
\override BarNumber.break-visibility = #all-invisible
\override KeyCancellation.break-visibility = #'#(#f #f #f)
}
}
%% define score snippets als markups
%% in order of appearance
Cmaj=\markup \score { { \key c \major g'4 } \layout { } }
Gmaj=\markup \score { { \key g \major g'4 } \layout { } }
Dmaj=\markup \score { { \key d \major g'4 } \layout { } }
Amaj=\markup \score { { \key a \major g'4 } \layout { } }
Emaj=\markup \score { { \key e \major g'4 } \layout { } }
Bmaj=\markup \score { { \key b \major g'4 } \layout { } }
Fsmaj=\markup \score { { \key fs \major g'4 } \layout { } }
Gfmaj=\markup \score { { \key gf \major g'4 } \layout { } }
Dfmaj=\markup \score { { \key df \major g'4 } \layout { } }
Afmaj=\markup \score { { \key af \major g'4 } \layout { } }
Efmaj=\markup \score { { \key ef \major g'4 } \layout { } }
Bfmaj=\markup \score { { \key bf \major g'4 } \layout { } }
Fmaj=\markup \score { { \key f \major g'4 } \layout { } }
#(define (st-rot stencil myangle)
;; just for shortening the code
(ly:stencil-rotate stencil myangle 0 0))
#(define (x-width mystencil)
(let* ((x-ext (ly:stencil-extent mystencil X)))
(- (cdr x-ext) (car x-ext
#(define (y-width mystencil)
(let* ((y-ext (ly:stencil-extent mystencil Y)))
(- (cdr y-ext) (car y-ext
#(define (bogen winkel)
(* ( / winkel 180) PI))
#(define (kreis-punkt radius winkel)
;; this function returns the coordinates of a point on a circumference
;; as pair depending on radius and angle
;; like a clock: start at midnight ;-)
;; winkel = angle (in degrees)
;; '(x . y)
(let* ((wiboma (bogen winkel)) ;; calculate angle as radian measure
(x-sin (sin wiboma))
(y-cos (cos wiboma))
(x-cor (* x-sin radius))
(y-cor (* y-cos radius)))
(cons x-cor y-cor)))
#(define (mittel-punkt stencil)
;; returns the coordinates of the middle of the stencil als pair
;; '( x-middle . y-middle)
(let*
((x-li (car (ly:stencil-extent stencil X)))
(x-re (cdr (ly:stencil-extent stencil X)))
(y-li (car (ly:stencil-extent stencil Y)))
(y-re (cdr (ly:stencil-extent stencil Y
(cons (/ (+ x-li x-re) 2) (/ (+ y-li y-re) 2
#(define (move-to-circle radius winkel stencil)
;; move a stencil to the edge of a cirle
;; depending on radius and angle
;; the arithmetic middle of the stenil coordinates is the reference point
;; which is moved with its `mittel-punkt' to `kreis-punkt'
(let* ((mittel (mittel-punkt stencil))
(mittel-x (car mittel))
(mittel-y (cdr mittel))
(kreis (kreis-punkt radius winkel))
(kreis-x (car kreis))
(kreis-y (cdr kreis)))
(ly:stencil-translate stencil
(cons
(- kreis-x mittel-x)
(- kreis-y mittel-y)
#(define-markup-command (move-markup layout props mymark radius winkel)
(markup? number? number?)
(move-to-circle radius winkel (interpret-markup layout props mymark)))
#(define (move-to-circle-x radius winkel stencil delta)
;; move stencil down (at six)
;; winkel=0: left aligned
;; winkel<>0: right aligned
;; just for Fs/Gf maj needed
;; two scales at six
(let* ((mittel (mittel-punkt stencil))
(mittel-x (car mittel))
(mittel-y (cdr mittel))
(kreis (kreis-punkt radius winkel))
(kreis-x (car kreis))
(kreis-y (cdr kreis)))
(if (= winkel 0)
(ly:stencil-translate stencil
(cons
(+ (* -2 mittel-x) delta)
(* radius -1)))
(ly:stencil-translate stencil
(cons
delta
(* radius -1))
#(define-markup-command (move-markup-x lay
Re: Courtesy Accidentals and Abbv.
At 23:42 30/08/2016 -0500, Bonly Monly Gonly wrote:
How does one show courtesy accidentals (specifically a natural sign), ...
The Notation Manual distinguishes between reminder and cautionary
accidentals; I'm not sure which you mean:
"Normally accidentals are printed automatically, but you may also
print them manually. A reminder accidental can be forced by adding an
exclamation mark ! after the pitch. A cautionary accidental (i.e., an
accidental within parentheses) can be obtained by adding the question
mark ? after the pitch. These extra accidentals can also be used to
produce natural signs."
... and also how does one display the abbreviated names to the left
of each system.
Again, the The Notation Manual:
"The value of instrumentName is used for the first staff, and the
value of shortInstrumentName is used for all succeeding staves."
- and its example:
\new Staff \with {
instrumentName = #"Violin "
shortInstrumentName = #"Vln. "
}
{ c4.. g'16 c4.. g'16 \break | c1 }
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Re: space the width of key signature
At 11:49 04/07/2016 -0500, Br. Gabriel-Marie | SSPX wrote: So, the download page only provides version 2.18.2-1. Go back to the front page and follow "Unstable Release". Where can I get a Windows binary for 2.19.44? http://download.linuxaudio.org/lilypond/binaries/mingw/lilypond-2.19.44-1.mingw.exe Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Making flags a bit thicker? Changing distance between key signature elements?
At 11:18 30/05/2016 +0200, Jacques Menu Muzhic wrote: Le 30 mai 2016 à 11:13, Stanislav Ossovsky a écrit : I have been developing tactile stave music notation for the visually impaired. I am going to make a score with subsequent milling on a CNC machine. [...] FMI : what is a CNC machine? See https://en.wikipedia.org/wiki/CNC_router . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can not reach the list
At 21:03 15/05/2016 +, Joram Noname wrote: my mails do not reach lilypond-user. Does that only happen to me ... No, it's often happened to me too. ... or is it a general problem? Is there something I can do? There ought to be - but sadly it seems no-one is prepared to investigate. I wonder if this message will make it ... Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using strings and other types to return markup
At 12:12 11/05/2016 +0100, Phil Holmes wrote: ... (if I had a list of unicode characters with tildes over them to hand) ... See https://en.wikipedia.org/wiki/Tilde#Precomposed_Unicode_characters . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Key change in alternative 1
At 15:42 13/03/2016 +0100, Malte Meyn wrote: how should I treat a key change in the first alternative of a volta repeat? I'm not sure whether to print the "change back" at the beginning of the second alternative (m. 5 of the attached code). I don't think it's necessary to print it if the change coincides with a line break (LilyPond's default behaviour, variant 1 in the attached code). But is it necessary when there is no line break (variant 2 or 3)? For what it's worth, Elaine Gould (someone else will tell you hers is only one suggestion) says "After a change in the first-time bar, a reminder in brackets of a continuing clef, key signature or time signature is helpful at the beginning of the second-time bar" (p. 235). Her example has all three in one set of parentheses but doesn't happen to require cancelling naturals. Separately, she says "When a key change coincides with a system break, the cancelling naturals and the new key signature go at the end of the first system. The new system takes only the new key signature" (p. 93). "Reminder" and "helpful" suggest to me that the parenthesised addition is not essential, and that she would not include accidentals in your second-time bar. In addition, after a system break, wouldn't the appropriate key signature in your case be three sharps, not one flat - again obviating the accidentals? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inline images, was Re: Variable slur thickness
At 10:56 10/03/2016 -0600, Matthew Skala wrote: On Thu, 10 Mar 2016, Brian Barker wrote: At 10:33 10/03/2016 -0600, Matthew Skala wrote: ... HTML in email is usually spam. You are joking, of course! No. OK, I'll rephrase that to help you: either you *have to be* joking or you are plain wrong. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inline images, was Re: Variable slur thickness
At 10:33 10/03/2016 -0600, Matthew Skala wrote: ... HTML in email is usually spam. You are joking, of course! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cannot resolve rest collision: rest direction not set
At 19:26 08/02/2016 -0500, Joseph N. Srednicki wrote: I receive the warning "cannot resolve rest collision: rest direction not set" when I compile the code listed below. Is there anything else that I can do to avoid the warning or am I overlooking something? You need to add \voiceOne, \voiceTwo, etc. If you do that, the warnings disappear. See http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices . Oh, and you can then dispense with your \stemDown, which happens automatically. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: incorporating .pdf file into a text
At 10:57 29/12/2015 -0500, Joseph Breton wrote: How can I incorporate my pdf file into a word processor like libreoffice? My trials always produce some to me undecipherable text which then greatly expands to non ASCII symbols. As has been suggested, preferably create Lilypond output in Scalable Vector Graphics (SVG) or Portable Network Graphics (PNG) format instead. (See Notation Manual 3.4.3.) Alternatively, in your LibreOffice text (Writer) document, o Go to Insert | Object > | OLE Object... . o Double-click "Further objects". o Select "Create from file" and Browse... . o Browse to and open the PDF document file. o Resize and reposition the graphic as necessary. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ragged right on last 2 bars.
At 15:41 28/12/2015 -0800, Peter Terpstra wrote:
Is it possible to apply the ragged-right paper option in such a way
that only the last 2 bars will be affected?
Example:
\version "2.18.2"
\paper {
indent = 0
ragged-last-bottom = ##t
ragged-right = ##t
}
\score {
\relative c' {
\repeat unfold 12 {a'4 b c d}\break
<e, b' d gis> r <a, c' e a>2
\bar "|."
}
}
ragged-last = ##t
(without ragged-right = ##t)
Note that ragged-last-bottom applies to vertical spacing, not horizontal.
I trust this helps.
Brian Barker
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Re: Music running off page, yet passes bar line check
At 18:05 28/12/2015 -0800, Ryan Michael wrote:
I have the following music :
\tempo 4=40
\time 4/4
\clef bass
\barNumberCheck #1
b,1\glissando
\barNumberCheck #2
\once \hide NoteHead bes4\glissando a2\glissando
\once \hide NoteHead a4\glissando
\barNumberCheck #3
\once \hide NoteHead a4\glissando
b-\markup{"don't articulate b. stop gliss
exactly on 1"} r8 b8\glissando \once \hide NoteHead b16 a8.~
\barNumberCheck #4
a4\glissando \once \hide NoteHead bes4\glissando
\once \hide NoteHead bes\glissando b8\glissando
c16\glissando [\once \hide NoteHead b32\glissando a32]
\barNumberCheck #5
r16 b8.\glissando
 \once \hide NoteHead a4\glissando
\once \hide NoteHead gis8\glissando
g8-\markup{\italic "crescendo"}
g16\glissando-\markup{\italic "decrescendo"} \once \hide NoteHead a8.\glissando
\barNumberCheck #6
\once \hide NoteHead ais4\glissando \once \hide NoteHead b16 b8. r4
gis4\glissando\p\<
\barNumberCheck #7
\once \hide NoteHead gis4\glissando
feh\glissando\mp\>\! \once \hide NoteHead
g4\glissando \once \hide NoteHead a4\glissando
\barNumberCheck #8
gis4\!\p r4 gis4\glissando a\glissando
\barNumberCheck #9
b\glissando a\glissando b8\glissando a16.\glissando b32 r8 b8\glissando
\barNumberCheck #10
\once \hide NoteHead bes8 a\glissando \once \hide NoteHead
 bes8 \tuplet 3/2{ b\glissando a\glissando b\glissando} a8
r8
r16 b\glissando
\barNumberCheck #11
\once \hide NoteHead a4\glissando \once \hide
NoteHead aes8.\glissando g16\glissando
\once \hide NoteHead gis4\glissando \once \hide NoteHead a4\glissando
\barNumberCheck #12
\once \hide NoteHead ais4\glissando
bes8-\markup{\italic "decrescendo molto"}\glissando b16 r16 r4 r4
And all the bars are right, and yet the second line is cramped and runs off.
It seems that systems will not break where there
is a glissando across the bar line (in 2.18.2).
The break that occurs after bar 4 is the last bar
line that isn't spanned by a glissando: hence the
cramped nature of the second system, as no
further breaks are possible. In addition, your
articulation "decrescendo molto" is too long to
fit on the second system, even if there is (just)
room for the music. If you shorten this or stack
the words using \column, you will just see the
final bar line, though displaced into the margin
- or at least I do with my default settings. If
you drop one of the glissandi, you can see three sensibly spaced systems.
I trust this helps.
Brian Barker
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Re: ragged-right - turn it on and off
At 19:36 26/12/2015 -0600, Steve Fullerton wrote: Fiddle tunes usually have 2 parts, each with 8 measures. In tablature that works out to 2 lines of 3 measures and 1 line of 2 measures followed by a \break. The line with 2 measures will be stretched out to fill the page because ragged-right = ##f. This looks odd. I would like the 2 measure line to not stretch out and behave like ragged-last=##t, even though it is not the last line. One simple workaround is to set the two parts as separate scores - each with its own \score, that is. Then ragged-last will do its job twice over. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lower-case letter rehearsal marks
At 09:34 09/12/2015 +0100, Urs Liska wrote: Am 09.12.2015 um 08:57 schrieb Brian Barker: At 17:08 08/12/2015 -0700, Abraham Lee wrote: I am trying to figure out how to make rehearsal mark letters be their lower-case counterparts. I've read through all the options in "scm/translation-functions.scm" to see what's currently available and it doesn't seem to be an option at the moment. I realize this isn't the standard way of notating rehearsal marks, but let's lay that aside for a moment. Any ideas on could I do this? \mark \markup \box \bold "a" \mark \markup \box \bold "b" ... I'm pretty sure Abraham is looking for an *automated* solution. So am I. But I also know he didn't need to be told that! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lower-case letter rehearsal marks
At 17:08 08/12/2015 -0700, Abraham Lee wrote: I am trying to figure out how to make rehearsal mark letters be their lower-case counterparts. I've read through all the options in "scm/translation-functions.scm" to see what's currently available and it doesn't seem to be an option at the moment. I realize this isn't the standard way of notating rehearsal marks, but let's lay that aside for a moment. Any ideas on could I do this? \mark \markup \box \bold "a" \mark \markup \box \bold "b" ... Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How Beautiful Upon the Mountains by Stainer
At 15:18 03/12/2015 +, Gregory Citarella wrote: Hello: is there any way I can get a pdf of the choir anthem that I see on you tube of How Beautiful upon the mountains by John Stainer. I see it was done by someone using lilypond.org https://github.com/jrmhaig/music/blob/9b6f04207762999dcd273fd93f8f74658f1c5d97/Stainer/HowBeautifulUponTheMountains/HowBeautifulUponTheMountains.pdf (or http://tinyurl.com/pgbu4d2 ). Click Raw to download the PDF. You must satisfy yourself about copyright issues. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Valse des Sylphes - Charles GOUNOD
At 21:44 02/11/2015 +, Alberto Simões wrote: After your precious help, I consider my task of transcribing this music complete. Of course, I am happy to fix any issue: There are still a few differences here: Bar 1: As others have said, the third beat in the upper staff should be an E, not an F-sharp. Bar 84: The decrescendo should end a beat earlier. Surely this should match what you have (correctly) in bars 92, 100, 108, and 116? I'm puzzled by repeated reminder accidentals on tied notes in: Bar 110: Natural sign before the tied C in the lower staff Bar 112: Sharp sign before the tied F-sharp in the upper staff Bar 120: Sharp sign before the tied F-sharp in the upper staff Bar 122: Sharp sign before the tied F-sharp in the upper staff Bar 124: Natural sign before the tied C in the lower staff Surely these are simply confusing? (They are not present in the original.) Even if the accidentals in the previous bars were not reminders, they would affect the tied notes too, and - since the notes are tied - they couldn't be anything else but the same pitch. (The accidental in bar 120 would be necessary if it were not a reminder one, since a system break now occurs here, but that doesn't apply in this case and Lilypond would insert it automatically anyway.) This problem seems to result from your use of the chord repetition symbol "q"; to avoid this, you may want to repeat the chords explicitly instead - without the exclamation marks. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Valse des Sylphes - Charles GOUNOD
At 14:04 03/11/2015 +, Alberto Simões wrote: At 09:59 03/11/2015 +, Brian Barker wrote: I'm puzzled by repeated reminder accidentals on tied notes in: Bar 110: Natural sign before the tied C in the lower staff [...] I did not like them too, but no clue how to remove them. Easy. In the case of bar 110, you have: <d' a' c!>2 ~ | q4 Replace this with: <d' a' c!>2 ~ | 4 - and similarly. GNU LilyPond 2.18.2 here, but I can try to update (even on El Capitan!) No need, with this workaround. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Valse des Sylphes - Charles GOUNOD
At 12:20 03/11/2015 +0100, Michael Gerdau wrote: Interestingly enough these do not appear when I create the PDF on my local LP 2.19.30. Yes: that *is* interesting! (Like the transcriber, I was using 2.18.2.) Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Redundant accidentals after clef changes
At 15:19 25/10/2015 -0500, David Wright wrote: I'm glad we singers don't meet this sort of thing in "normal" music. My own take is for having extra accidentals (ie clef changes=>forget) but also the extra cancellations (1471). (Perhaps written above.) [from a position of ignorance of convention.] For what it's worth, Elaine Gould has no doubt of the convention - that such accidentals are required: "An accidental holds good only in the clef in which it is written. A change of clef requires a further accidental for a note of the same pitch..." (Behind Bars, p 78). Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bar checks and independent time signatures
At 15:57 22/10/2015 -0400, Michael Collins wrote: A couple days ago, I described a problem with a piece for two staves in independent time signatures. After consulting this post, I moved the timing translator and bar line engraver out of the score context and into the staff context. While the midi compiles properly, the music in the pdf runs off the page. Lilypond says that the bar checks in the top voice are failing. I suspect that this is the root of the problem. I've run versions of the code with each of the two voices commented out. When the voices play separately, the pdf output stays on the page. Something about combining the two voices is problematic. I'm genuinely at a loss, since moving the timing translator to the staff context should make the voices completely independent. Any advice? With a system containing two staves, Lilypond can create system breaks only where bar lines occur in both staves simultaneously. Music runs off the page when it cannot create appropriate system breaks. The first bar in your lower staff contains the equivalent of four crotchets (quarter notes), the second 4/2 = 2, the third 4/3 = 1.33 (approx.), and so on. The length of the music up to each bar line in the lower staff in crotchet units (rounded) is thus: 4 6 7.33 8.33 9.13 9.8 10.37 10.87 11.32 11.72 12.08 12.41 12.72 13.01 13.27 13.52 The first bar line, at four crotchets, coincides with a bar line in the upper staff, so a system break can occur there - and does. The second, at six crotchets, coincides with the middle of the second bar in the upper staff, so you could engineer a system break there by putting an invisible bar line at that point in the upper voice. But nowhere else do the ends of any *notes* - not just bars - coincide in the two voices. So you simply cannot have a system break without some note in one or other voice itself being broken - which doesn't happen in musical notation, of course. In principle you could divide a note and tie it across the break, but there would be no way to represent the strange fractions of note length you would require, would there? The music runs off the page only because of the impossibility of (later) system breaks. You can see the full engraving if you either reduce the staff size or increase the paper width. You will also then easily see that the upper staff extends beyond the lower one, as you can see from the values above: the lower voice lasts approximately 13.52 crotchets but the upper voice sixteen. You need two-and-a-bit crotchets' worth of rest at the end of the lower staff to make everything fit. You'd need a fearsome time signature to achieve this - which is left as an exercise for the reader! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dynamic with markup
At 18:58 10/10/2015 -0700, Mark Stephen Mrotek wrote:
I recall that instructions were once given to achieve:
p ma ben marcato,
yet my search of the LSP was not successful.
Try:
c_\markup { \dynamic p \italic { ma ben marcato } }
Brian Barker
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Re: Question re title formatting
At 15:43 03/10/2015 +0200, Bonly Bonly wrote: As you correctly found out, as a matter of fact line breaks will not work in your code. As I did a lot of programming in the past I do not think that is wrong but usually a rule in such code arrangements. Another point is the comment mark "%" that invalidates the rest of the line CR etc. included ... The end-of-line marker - when correctly encoded - terminates comments, of course. Simply read http://lilypond.org/doc/v2.18/Documentation/notation/formatting-text.html there is an example that you might adjust to your wish. Sorry, but you are missing the point here, in fact - indeed, two points. 1. It's not my code: I'm not the original enquirer. 2. The enquirer's code works exactly as she wishes; the problem is entirely with her (invisible) line breaks not being encoded properly. No-one needs to read the manual about formatting text, as the original code works. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Question re title formatting
At 15:01 03/10/2015 +0200, Bonly Bonly wrote:
There are lots of "%", say comments, that validate the rest of the
line including braces.
\markup { \column
{
\fill-line { \large \bold \title } % title
\fill-line { \titleb }
\fill-line { \caps \piece \caps \composer }
\fill-line { \meter \arranger }
}
}
I'm not sure what you mean here: perhaps *in*validate?
The point is that the line break that should appear after "% meter"
so that "\arranger" is not included in the comment and instead
properly interpreted by Lilypond must be incorrect in the original
.ly file. Notice also the clue that line breaks in what the enquirer
describes as her "title information" do not appear correctly in the
archive rendering.
Brian Barker
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Re: Question re title formatting
At 13:41 03/10/2015 +0200, David Kastrup wrote: On 02.10.2015 18:29, Karen Billings wrote: Lilypond incorporates the "meter" but ignores the "arranger"... I suspect that the preceding line has a non-standard line ending, most likely just a CR or the line being wrapped by spaces rather than a proper line end. Then LilyPond will consider the next line just as part of the comment ending the previous line. I think one can see from the rendering of the original enquiry in the archive at http://www.mail-archive.com/lilypond-user@gnu.org/msg105369.html that something of this sort is indeed the case. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat with alternatives
At 19:30 02/10/2015 +0100, Anthony Youngman wrote: At the end of the day, it's down to the conductor to make sure the players know what they're doing. But surely engraved music is designed to indicate this unambiguously? If the conductor needs to get involved, the representation has failed. If I compose music and publish ambiguous engravings, any conductor cannot know what I intended. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar numbers seem to be one off
At 11:36 26/09/2015 +0100, Ant Youngman wrote: Actually, printing bar numbers at the start of each line is NOT general practice. Yes I think it's great, and leave it there when I'm redoing parts, but I've almost never seen it in any music I've been given to play. Just to add another statistic: Elaine Gould says "Place bar numbers at the beginning of each system, ideally above the clef of the top stave" (p. 484). Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar numbers seem to be one off
At 16:15 26/09/2015 +0200, Simon Albrecht wrote: On 26.09.2015 16:14, Brian Barker wrote: Just to add another statistic: ... Which is only one opinion. Isn't that what "another statistic" means? (Mind you, the unqualified suggestion of the Senior New Music Editor at Faber Music since 1987 probably counts for something!) Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A call to Cantique de Fauré
At 22:46 23/08/2015 +0200, Simon Albrecht wrote: Am 23.08.2015 um 20:00 schrieb Ali Cuota: Does somebody [know] where to find the Cantique de Jean Racine in Ly? Mutopia, cpdl, imslp and so far google say no. :-( In https://lists.gnu.org/archive/html/lilypond-user/2005-01/msg00295.html Sir Michiel Lange was asking about a solution for manual changes, so maybe he can help? Well, apparently Mr. Lange did not choose to publish his code, then. I don't know of any platform besides the three you mentioned where such code might be found, so you'll probably have to do it yourself, and be the first to contribute it on any of these :-) Well, I do - and I've already replied to the list (and to the questioner) with my discovery. But the list has - as it sometimes does - decided to censor my contribution and not accept it and publish it. If anyone knows why it discriminates against me (and some others) in this way, I'd like to know. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A call to Cantique de Fauré
At 21:58 23/08/2015 +0100, Brian Barker wrote: At 22:46 23/08/2015 +0200, Simon Albrecht wrote: Am 23.08.2015 um 20:00 schrieb Ali Cuota: Does somebody [know] where to find the Cantique de Jean Racine in Ly? Mutopia, cpdl, imslp and so far google say no. :-( In https://lists.gnu.org/archive/html/lilypond-user/2005-01/msg00295.html Sir Michiel Lange was asking about a solution for manual changes, so maybe he can help? Well, apparently Mr. Lange did not choose to publish his code, then. I don't know of any platform besides the three you mentioned where such code might be found, so you'll probably have to do it yourself, and be the first to contribute it on any of these :-) Well, I do - and I've already replied to the list (and to the questioner) with my discovery. But the list has - as it sometimes does - decided to censor my contribution and not accept it and publish it. If anyone knows why it discriminates against me (and some others) in this way, I'd like to know. Weirdly, the list has condescended to publish this comment but not my original suggestion, which was: Try http://www.uma.es/victoria/varios/ly/Faure-Cantique_De_Jean_Racine.ly (and http://www.uma.es/victoria/varios/pdf/Faure-Cantique_De_Jean_Racine.pdf ). Copyright issues are your responsibility. Brian Sherlock Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score.skipTypesetting
At 15:12 13/08/2015 +0200, Orm Finnendahl wrote: In a chamber music piece I'm writing, the first line of the score is (and should be) indented. While working on the score I want to typeset just the last part of the score and use Score.skipTypesetting = ##f in the beginning and set Score.skipTypesetting = ##t in some later part, e.g. after a \pageBreak. lilypond renders this partial score with the first line indented which is suboptimal as the beginning of this page will *not* get indented in the final (non partial) score. Wouldn't a (slightly messy) workaround be to position the restart of typesetting at a point before the page break - and perhaps a bar or two before that? You'd get a first, rubbish page, but the part you do want should be closer to how it will appear in the final copy. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Italics in headers
At 13:36 22/07/2015 -0400, Tim Slattery wrote:
How can I italicize just part of a header? What I want is a subhead
that reads:
(From Les Meslanges - 1750)
with only Les Meslanges italicized.
subtitle = \markup { (From \italic Les Meslanges - 1750) }
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Re: volta repeat with and without alternative ending
At 10:13 24/06/2015 -0700, Abraham Noname wrote:
On Wed, Jun 24, 2015 at 9:48 AM, Gergely Kontra [via Lilypond] wrote:
I am engraving an orchestral score, and ran into the following: one
staff has volta repeat with alternative ending, but the other staff
has no alternate ending. When I engrave the score for the
conductor, strange thing happens (one staff is shorter, that the
other) I also would like to engrave scores for violin and viola,
and those notes are in separate files. Viola part should not be
aware of the alternative block in violin IMHO. So, how should I
write this piece to be correct? (online version: http://lilybin.com/mpasgy/4)
\version 2.18.2
\language deutsch
violin = \relative c'' {
\repeat volta 2 { c4 d e f | }
\alternative {
{ c2 e | }
{ f2 g | }
}
c1
}
viola = \relative c' {
\repeat volta 2 { c4 d e f |
c2 c }
c1
}
\score {
\new Staff \violin
\new Staff { \clef alto \viola }
\layout { }
}
I believed I answered this already on the bugs list here:
http://lilypond.1069038.n5.nabble.com/repeat-volta-2-td178090.html#a178094
I don't think you did. You claim there that looking at it by the raw
musical content, I see 4 bars for violin and only 3 for viola, but
you don't explain why you see that as a problem. You are counting
notation, not actual bars as played. Why does it matter that, say,
ten played bars might be expressed as only five bars repeated? And
your expansion of the parts there is incorrect: you have included the
first time bar the second time around for the violin, suggesting six
bars played in total, whereas there are actually only five.
It got me thinking, though. Why don't you want the viola to have the
same \repeat volta 2 { ... } \alternative { { ... } { ... } }
structure, too? If you are making individual part scores, then
you're going to need it, IMHO.
That's your dispute with the original questioner, who prefers the
viola players not to see what is going on in other parts. (I happen
to agree with you: that it is clearer if the identical first and
second time bars in the viola part are laid out in the same way as in
other parts. I *think* (she doesn't say this explicitly) that Elaine
Gould agrees.)
If that's really not what you want, what should the viola be playing
during the violin's 2nd ending?
Oh, that's easy and evident: exactly what is written. The last
(second) bar of the viola part's repeat coincides with the second
time bar in the violin part.
Brian Barker
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Re: MMA using lilypond syntax/style
At 21:58 13/06/2015 +0200, Martin Tarenskeen wrote: A quote from that website [http://www.mellowood.ca/mma/]: And, please remember, our program is called MMA - Musical MIDI Accompaniement, not MMA. So its full name would be Musical Musical Instrument Digital Interface Accompaniment - Musical Musical Instrument Digital Interface Accompaniment? (Oh, and they do call it MMA far more often than anything else!) Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: SATB polyphonic lyrics problems
At 10:17 16/05/2015 +0100, Phil Holmes wrote:
- Original Message -
From: Alan Struthers
To: lilypond-user@gnu.org
Sent: Saturday, May 16, 2015 12:07 AM
Subject: SATB polyphonic lyrics problems
I am brand new to Lilypond. I have tried and tried to figure out
how to code SATB four staves of polyphony with different notes,
durations and lyrics, but while I am close, some of the lyrics fall
to the very bottom of the score and will not stick to the staff
that I want them to.
Sorry if the example is long, but I must learn :
1) how to code what I want
2) where to put the commands properly
The lyrics in CAPITALS are for voice two (i.e., soprano 2, alto 2 )
They are aligned correctly, meaning they are directly under the
proper notes, but not attached to the correct staff.
If someone could correct my code in CAPITALS so I can see exactly
what you have done, I will be able to engrave my music.
Could you attach a text-only version of your score, please?
I'm not he, but here it is.
Brian Barker \version 2.18.2
\language english
\paper {
#(set-paper-size letter)
}
global = {
\key d \major
\numericTimeSignature
\time 3/4
\autoBeamOff
}
sopranoVoice = \relative c'' {
\global
\dynamicUp
\oneVoice
{
c4 g8 c, g'
}
{ \voiceOne
c
b2.
}
\new Voice
{ \voiceTwo
c8
g4 f e
}
% lyrics for soprano 2
\new Lyrics \lyricmode
{ AL8 -- LE4 -- LU -- IA, }
\oneVoice
bf'2.
a2.
}
verseSopranoVoice = \lyricmode {
% Lyrics follow here.
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
}
altoVoice = \relative c' {
\global
\dynamicUp
c g' 2.
d2.
{
\voiceOne
f8[ e] d[( e] f4)
f4( c) f
}
\new Voice
{
\voiceTwo
d2.
c2.
}
% lyrics for alto 2
\new Lyrics \lyricmode
{ LU -- IA, }
}
verseAltoVoice = \lyricmode {
AL -- LE --
Al -- le -- lu -- ia,
}
tenorVoice = \relative c' {
\global
\dynamicUp
% Music follows here.
e, g 2.
d g 2.
f bf 2.
f c' 2.
}
verseTenorVoice = \lyricmode {
Al -- le -- lu -- ia,
}
bassVoice = \relative c {
\global
\dynamicUp
c2. g
bf d 2.
f' f, 2.
}
verseBassVoice = \lyricmode {
Al -- le -- lu -- ia,
}
sopranoVoicePart = \new Staff \with {
instrumentName = Soprano
midiInstrument = choir aahs
} { \sopranoVoice }
\addlyrics { \verseSopranoVoice }
altoVoicePart = \new Staff \with {
instrumentName = Alto
midiInstrument = choir aahs
} { \altoVoice }
\addlyrics { \verseAltoVoice }
tenorVoicePart = \new Staff \with {
instrumentName = Tenor
midiInstrument = choir aahs
} { \clef treble_8 \tenorVoice }
\addlyrics { \verseTenorVoice }
bassVoicePart = \new Staff \with {
instrumentName = Bass
midiInstrument = acoustic grand
} { \clef bass \bassVoice }
\addlyrics { \verseBassVoice }
\score {
\sopranoVoicePart
\altoVoicePart
\tenorVoicePart
\bassVoicePart
\layout { }
\midi {
\tempo 4 = 72
}
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Re: general question regarding replies
At 21:38 21/04/2015 -0500, Lance James wrote: i responded to each email using the lilypond-user address but do not receive notice of my reply as i would expect. am i responding correctly? Yes. i assumed, though possibly incorrectly, that a reply to this email address would send notice to all subscribers. including myself. It does - and the copies of your own messages arrive at your Gmail account. But for such messages, Gmail automatically skips your inbox and archives the message to save you time and prevent clutter. See https://support.google.com/mail/answer/6588?hl=enref_topic=3394915 . You can make your own choice to see this as a feature of or a bug in Gmail! You can confirm what reaches the list at http://lists.gnu.org/archive/html/lilypond-user/ . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: procedure vs. function
At 12:55 18/04/2015 +0100, Michael Hendry wrote: I think it was Pascal that introduced a distinction between a Procedure (which does something without returning a value) and a Function (which does something AND returns a value). Really?! Pascal: published 1970 Fortran II (included SUBROUTINE and FUNCTION): published 1958. http://en.wikipedia.org/wiki/Pascal_%28programming_language%29 http://en.wikipedia.org/wiki/Fortran#FORTRAN_II Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie between octaves
At 18:03 03/04/2015 -0700, Mark Stephen Mrotek wrote:
How do I get an \tieUp between the top notes of two octaves, yet a
\tieDown between the bottom notes.
If I understand the question correctly, all of these work for me:
{ c c' ~ c c' }
{ c~ c'~ c c' }
{ c_~ c'^~ c c' }
There is also
\override TieColumn.tie-configuration = ... - as shown at
http://www.lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#ties .
Brian Barker
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Re: Automatic breaks not working?
At 22:47 27/03/2015 +, A. Sentman wrote: I have a couple of files where Lilypond fails to wrap the score across multiple lines, and instead cuts it off at the edge of the page. Most of these are fairly large files, and it seems to happen consistently if there are more staves than can fit vertically on the page. What I did: I used lilypond to render the example at the bottom of this post. What I expected: The score wraps to the next line after the sixth measure. What happened: The score does not wrap, instead running off of the edge of the page. This is because your score makes no sense, I'm afraid. With a time signature of C, your second occurrence of r4.. in the top staff spans the line between the first and second bars. If I comment out the initial r4 and r16, in the top staff, the score breaks after bar 5 and again after bar 9. This may not be the music that you mean, but it illustrates the cause of the problem. The third staff then throws a similar problem in bar 13, where the d4. again spans the line between bars 13 and 14. Once you have a score that properly respects bar lines, the automatic line breaks will behave themselves. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
