magnifyStaff bug?

[Carl-Henrik Buschmann]

I’m trying to typeset a very simple piano and violin arrangement and while 
doing the piano part I wanted to have the violin staff «cue sized» as a 
reference to the pianist. I used \magnifyStaff and while it works wonders, it 
gives me this at the end of each system:

http://i.imgur.com/6UNkJkA.png 

This is weird. Any idea why this happens? Is there perhaps a better way of 
doing this?


\score {
<<
  \new Staff \with {
\magnifyStaff #5/7
instrumentName = #"Violin "
shortInstrumentName = #"Vln. "
  }
  {
<<\melody \violinDynamics \repeatBars>>
  }

  \new PianoStaff  \with {
instrumentName = #"Piano "
shortInstrumentName = #"Pno. "
  }
  <<
\new Staff = "Right" <<\pianoNotesRight \repeatBars>>
\new Dynamics = "Dynamics" \pianoDynamics
\new Staff = "Left" <<\pianoNotesLeft \repeatBars>>
  >>
>>
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Re: MagnifyStaff Bug?

[Carl-Henrik Buschmann]

Hi Simon,

> it’s a known issue that alignment of barlines can be difficult in such cases. 
> I think we have a tracker issue, and it’s a non-trivial question how such 
> barlines should be aligned by default.

So it is a know issue, that it is all i needed to know. Harm did find something 
in the LSR that probably can help, Carl provided much the same solution. For 
that i am grateful. There is much good to say about the amount of knowledge 
people have on this list! 

I find it strange though why it is not mentioned in the manual 
<http://lilypond.org/doc/v2.19/Documentation/notation/setting-the-staff-size> 
that \magnifyStaff causes the lines to «misbehave» that way. But, if it is hard 
coded, as Harm implied, then perhaps there is some convention i dont know 
about. It does not look ugly, just unexpected. As a sidenote, cues sized staffs 
should not require this much mocking about to work. 

> If you had only asked ‘Do you agree that this looks bad?’, then this would be 
> a valid point. But, naturally, you also asked if somebody knew a way to do it 
> better. And unless I know the answer straightaway and can just type some code 
> in my reply (which doesn’t happen most of the time), I need to go to 
> Frescobaldi and fiddle around with the code, in order to check out some 
> approaches. I tried, and at first compilation got numerous errors due to 
> undefined variables.
> So I’d have had to clean it up and code an example myself, which is something 
> you could just as well have done as a courtesy to the volunteers who like to 
> help you on this list. There is a reason why we have this policy of posting 
> compilable, tiny examples.
>  
> Best, Simon

All that talk about hating to guess and not understanding what «this» is 
unnecessary sour mouth stuff when the problem is very clear. I wanted to know 
from the people that did know \magnifyStaff caused this to reply. Nothing more. 
I have no problem handling people that woke up on the wrong foot. But outbursts 
like that happens all the time and while i understand the need to teach new 
users how this list should function (a simple email when signing onto the list 
should do the trick and save you all from repeating ad infinitum) i won’t stand 
for it for a small thing like this.

While i agree that I could have been stated the problem clearer in text there 
should to be a certain amount of leeway when talking about a subject amongst 
people that study the same subject. The picture is _very_ telling and should 
leave little doubt what the problem was. With that little snippet i wanted to 
give a context to \magnifyStaff so that people could see if there was a simple 
syntax error. No need to post the whole code (which is far to big and making a 
MWE nor helps you nor did not solve the problem) wasting time when it could be 
stated with a simple «aha, just do it like so». And indeed it was: 
\magnifyStaff behaves oddly and it is know. 

Seeing that the manual is far from complete, at least not capable teaching 
non-scheme wizards anything but the simplest stuff, this list is the only place 
to get a working knowledge of Lilypond. While «losing» me hardly matters  (at 
least till i cool off in a couple of months) i cannot say i will advertise the 
use of Lilypond at its current state. Which is a pity since i’m a high school 
music teacher that desperately _wants_ this to be an option for myself and my 
students. One day it might be. 

So long, and thanks for all the fish.


Carl-Henrik Buschmann

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Re: MagnifyStaff Bug?

[Carl-Henrik Buschmann]

Hi Simon,

> it’s a known issue that alignment of barlines can be difficult in such cases. 
> I think we have a tracker issue, and it’s a non-trivial question how such 
> barlines should be aligned by default.

So it is a know issue, that it is all i needed to know. Harm did find something 
in the LSR that probably can help, Carl provided much the same solution. For 
that i am grateful. There is much good to say about the amount of knowledge 
people have on this list! 

I find it strange though why it is not mentioned in the manual 
 
that \magnifyStaff causes the lines to «misbehave» that way. But, if it is hard 
coded, as Harm implied, then perhaps there is some convention i dont know 
about. It does not look ugly, just unexpected. As a sidenote, cues sized staffs 
should not require this much mocking about to work. 

> If you had only asked ‘Do you agree that this looks bad?’, then this would be 
> a valid point. But, naturally, you also asked if somebody knew a way to do it 
> better. And unless I know the answer straightaway and can just type some code 
> in my reply (which doesn’t happen most of the time), I need to go to 
> Frescobaldi and fiddle around with the code, in order to check out some 
> approaches. I tried, and at first compilation got numerous errors due to 
> undefined variables.
> So I’d have had to clean it up and code an example myself, which is something 
> you could just as well have done as a courtesy to the volunteers who like to 
> help you on this list. There is a reason why we have this policy of posting 
> compilable, tiny examples.
>  
> Best, Simon

All that talk about hating to guess and not understanding what «this» is 
unnecessary sour mouth stuff when the problem is very clear. I wanted to know 
from the people that did know \magnifyStaff caused this to reply. Nothing more. 
I have no problem handling people that woke up on the wrong foot. But outbursts 
like that happens all the time and while i understand the need to teach new 
users how this list should function (a simple email when signing onto the list 
should do the trick and save you all from repeating ad infinitum) i won’t stand 
for it for a small thing like this.

While i agree that I could have stated the problem clearer in text there should 
to be a certain amount of leeway when talking about a subject amongst people 
that study the same subject. The picture is _very_ telling and should leave 
little doubt what the problem was. With that little snippet i wanted to give a 
context to \magnifyStaff so that people could see if there was a simple syntax 
error. No need to post the whole code (which is far to big and making a MWE nor 
helps you nor did not solve the problem) wasting time when it could be stated 
with a simple «aha, just do it like so». And indeed it was: \magnifyStaff 
behaves oddly and it is know. 

Seeing that the manual is a far cry from a user manual, at least not capable 
teaching non-scheme wizards anything but the simplest stuff, this list is the 
only place to get a working knowledge of Lilypond. While «losing» me hardly 
matters  (at least till i cool off in a couple of months) i cannot say i will 
advertise the use of Lilypond at its current state. Which is a pity since i’m a 
high school music teacher that desperately _wants_ this to be an option for 
myself and my students. One day it might be. 

So long, and thanks for all the fish.


Carl-Henrik Buschmann___
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Re: MagnifyStaff Bug?

[Carl-Henrik Buschmann]

Those lines at the end of the system should be perfect in line with the 
ends of the staff, should they not? I have not seen it in print before, 
have anybody else?
PS. After that speech about not giving a compatible example -which is not 
at all relevant in regard to this question, it is a simple see and confirm 
my suspicions or not- I think it is quite a arrogant way to address the 
problem. More and more of the way communication traverses on this list 
leaves me with a bad taste in my mouth and it is a shame.

Anyway, \magnifyStaff _does_ affect the BarLine. Because it's
explicitely coded, I think it's intended.
Maybe
http://lsr.di.unimi.it/LSR/Item?id=862
is more what you want.

Cheers,
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MagnifyStaff Bug?

[Carl-Henrik Buschmann]

I’m trying to typeset a very simple piano and violin arrangement and while 
doing the piano part I wanted to have the violin staff «cue sized» as a 
reference to the pianist. I used \magnifyStaff and while it works wonders, it 
gives me this at the end of each system:
http://i.imgur.com/6UNkJkA.png [http://i.imgur.com/6UNkJkA.png]
This is weird. Any idea why this happens? Is there perhaps a better way of 
doing this?

\score { << \new Staff \with { \magnifyStaff #5/7 instrumentName = #"Violin " 
shortInstrumentName = #"Vln. " } { <<\melody \violinDynamics \repeatBars>> }
\new PianoStaff \with { instrumentName = #"Piano " shortInstrumentName = #"Pno. 
" } << \new Staff = "Right" <<\pianoNotesRight \repeatBars>> \new Dynamics = 
"Dynamics" \pianoDynamics \new Staff = "Left" <<\pianoNotesLeft \repeatBars>> 
>> >> }

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Re: Copyright on first page, footer on following

[Carl-Henrik Buschmann]

It worked wonders! Thank you.


> 10. apr. 2016 kl. 20.04 skrev Thomas Morley :
> 
> 2016-04-10 19:35 GMT+02:00 Carl-Henrik Buschmann :
>> Aha! Get it. Thank you for the explanation.
>> 
>> But it leaves me none the wiser on how to do it, it being one footer one the
>> first page and a second for the rest?
> 
> 
> 
> Try:
> 
> \header {
>  copyright = \markup {
>  \center-column {
>\vspace #2
>"Copyright © OBLIGATO musikkforlag 2016 – Nesna, Norge"
>"All rights reserved – ISMN 979-0-706668-13-0 – order nr. OM8130"
>  }
>}
>  ISMN = \markup {
>   \fill-line {
> "ISMN 979-0-706668-13-0"
>   }
>  }
> 
>  tagline = ##f
> }
> 
> \paper {
>  oddFooterMarkup = \markup {
>\column {
>  \fill-line {
>%% Copyright header field only on first page in each bookpart.
>\on-the-fly #part-first-page \fromproperty #'header:copyright
>  }
>  \fill-line {
>%% Copyright header field only on first page in each bookpart.
>\on-the-fly #not-first-page \fromproperty #'header:ISMN
>  }
>}
>  }
> }
> 
> {
>  c1
>  \pageBreak
>  c1
> }
> 
> More info in NR:
> http://lilypond.org/doc/v2.19/Documentation/notation/custom-titles-headers-and-footers#custom-layout-for-headers-and-footers
> and in the source-file
> titling-init.ly
> 
> HTH,
>  Harm


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Re: Copyright on first page, footer on following

[Carl-Henrik Buschmann]

Aha! Get it. Thank you for the explanation. 

But it leaves me none the wiser on how to do it, it being one footer one the 
first page and a second for the rest?



> Den 10. apr. 2016 kl. 19.20 skrev Abraham Lee :
> 
> Carl,
> 
> That's because copyright is normally defined/used within the oddFooterMarkup 
> and conditionally printed on the first page only. Since you redefine 
> oddFooterMarkup, copyright has no conditional print command AT ALL, therefore 
> it doesn't show up. You'll need to add it back in yourself.
> 
> Best,
> Abraham
> 
>> On Sunday, April 10, 2016, Carl-Henrik Buschmann  wrote:
>> Hi,
>> 
>> I’m having trouble making lilypond print the copyright information on the 
>> first page while printing a simple footer on the following pages.
>> 
>> oddFooterMarkup seems to cannibalize the copyright:
>> 
>> \version "2.19.36"
>> 
>> \header {
>>   copyright = \markup {
>>   \center-column {
>> \vspace #2
>> "Copyright © OBLIGATO musikkforlag 2016 – Nesna, Norge"
>> "All rights reserved – ISMN 979-0-706668-13-0 – order nr. OM8130"
>>   }
>> }
>> 
>>   tagline = ##f
>> }
>> 
>> \paper {
>>   oddFooterMarkup = \markup {
>>\fill-line {
>>"ISMN 979-0-706668-13-0"
>>}
>>  }
>> }
>> 
>> {
>>   c1
>>   \pageBreak
>>   c1
>> }
>> 
>> 
>> 
>> 
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Copyright on first page, footer on following

[Carl-Henrik Buschmann]

Hi,

I’m having trouble making lilypond print the copyright information on the first 
page while printing a simple footer on the following pages.

oddFooterMarkup seems to cannibalize the copyright:

\version "2.19.36"

\header {
  copyright = \markup {
  \center-column {
\vspace #2
"Copyright © OBLIGATO musikkforlag 2016 – Nesna, Norge"
"All rights reserved – ISMN 979-0-706668-13-0 – order nr. OM8130"
  }
}
  
  tagline = ##f
}

\paper {
  oddFooterMarkup = \markup {
   \fill-line {
   "ISMN 979-0-706668-13-0"
   }
 }
}

{ 
  c1 
  \pageBreak
  c1
}




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Re: How to handle system objects?

[Carl-Henrik Buschmann]

Thank you for the quick reply. 

If it is only entered in the top staff will it reflect when printing parts 
(which is another issue giving me gray hair)? 
If using spacers, how to i enter alternatives (repeats/houses) in my voices?


> 17. mar. 2016 kl. 11.40 skrev Phil Holmes :
> 
> You only need to enter score-wide objects (like these) into one staff.  This 
> would give you two options: only enter them into a top staff, or enter them 
> into a voice with only spacer rests.
> 
> --
> Phil Holmes
> 
> 
> ----- Original Message - From: "Carl-Henrik Buschmann" 
> 
> To: "lilypond-user" 
> Sent: Thursday, March 17, 2016 10:34 AM
> Subject: How to handle system objects?
> 
> 
>> When working with large projects (or small for that matter) like an 
>> orchestral piece, how do one best handle system wide objects like repeats, 
>> rehersal marks, tempi etc? It is tedious entering every thing in every 
>> voice, not to mention prone to errors.
>> 
>> One idea i have is to make a silent voice and embed (not sure of the 
>> terminology here) it into every staff, but i'm not sure if it is the best 
>> way, nor how to execute it.
>> 
>> 
>> Hope your day is/will be brilliant!
>> Carl-Henrik
>> ___
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> 


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How to handle system objects?

[Carl-Henrik Buschmann]

When working with large projects (or small for that matter) like an orchestral 
piece, how do one best handle system wide objects like repeats, rehersal marks, 
tempi etc? It is tedious entering every thing in every voice, not to mention 
prone to errors.

One idea i have is to make a silent voice and embed (not sure of the 
terminology here) it into every staff, but i'm not sure if it is the best way, 
nor how to execute it. 


Hope your day is/will be brilliant!
Carl-Henrik
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Re: Use jazz fonts in LilyPond?

[Carl-Henrik Buschmann]

Where do one get hold of these alternative fonts for Lilypond?


Carl-Henrik



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Cinesamples film orchestra house style

[Carl-Henrik Buschmann]

Hi guys,

Have anybody tried to produce a house style like this 
https://cinesamples.com/product/cinescore-template?mc_cid=73bbb2c335&mc_eid=4b5d907b4f
 
<https://cinesamples.com/product/cinescore-template?mc_cid=73bbb2c335&mc_eid=4b5d907b4f>
 for use in Lilypond? Is it at all possible? 


Med vennlig hilsen,
Carl-Henrik Buschmann
Lektor

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Re: How to work with large orchestral1 projects

[Carl-Henrik Buschmann]

Hi again,

I try to do this dymanic acrobatic: 

"sfz > pp <"


In my mind i figured that nothing can come from nothing, so i tried the 
following:

  <<
{a2}
\\
{s4\sfz\> s4\pp\<}
  >> 

But this produces only the top voice with the stem the wrong way (of course). 
Any ideas?


Med vennlig hilsen,
Carl-Henrik Buschmann
Lektor

> Hi guys,
> 
> I'm trying to learn how to use lilypond to typeset orchestral material.
> Handling large projects is fun but good documentation regarding this is hard
> to come by. I'm still a lilypond novice and my Google-Fu has let me down, I
> need help.
> 
> I'm using my own orchestration which i engraved in Sibelius a while back.
> 
> This is my original sibelius score i.e.: the "ideal":
> http://i.imgur.com/fIQJN8v.png
> 
> And this is my lilypond output so far:
> http://i.imgur.com/g2OL258.png
> 

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Re: How to work with large orchestral1 projects

[Carl-Henrik Buschmann]

> 
> Hi Carl-Henrik,
> 
> if you want your score like the Sibelius-output, I'd use Sibelius. ;)
> I think trying to trim LilyPond doing the same as Sibelius will make
> you miss some LilyPond-features.
> 

True, but if i have to show examples from *somewhere*. I happen to master 
sibelius, having used it since v2 (!). It is not that i prefere one over the 
other - all have theire use. 

> HTH,
>  Harm
> 

Thank you for the code! Much appreciated.

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Re: How to work with large orchestral1 projects

[Carl-Henrik Buschmann]

I'm afraid i dont fully understand. When i put \grace s8 in my voices it still 
produces double timesignatures.


Med vennlig hilsen,
Carl-Henrik Buschmann
Lektor


> 21. feb. 2016 kl. 08.56 skrev Urs Liska :
> 
> 
> 
> Am 21. Februar 2016 08:25:22 MEZ, schrieb Carl-Henrik Buschmann 
> mailto:chbuschm...@mac.com>>:
>> I found that it was 
>> \slashedGrace {b8}
>> that caused the whole double time signature thing. I can only assume it
>> is a bug. I still need a acciaccatura though. Any thoughts?
> 
> This is one of the *oldest* and most embarassing bugs, yes.
> 
> What you need to do is put a grace construct in *every* context, using spacer 
> tests to make it invisible. E.g. \grace s8
> 
> HTH
> Urs
>> 
>> 
>> Med vennlig hilsen,
>> Carl-Henrik Buschmann
>> Lektor
>> 
>> 
>>> 20. feb. 2016 kl. 22.02 skrev Carl-Henrik Buschmann
>> :
>>> 
>>> Hi guys,
>>> 
>>> I'm trying to learn how to use lilypond to typeset orchestral
>> material. Handling large projects is fun but good documentation
>> regarding this is hard to come by. I'm still a lilypond novice and my
>> Google-Fu has let me down, I need help. 
>>> 
>>> I'm using my own orchestration which i engraved in Sibelius a while
>> back.
>>> 
>>> This is my original sibelius score i.e.: the "ideal":
>>> http://i.imgur.com/fIQJN8v.png <http://i.imgur.com/fIQJN8v.png> 
>>> <http://i.imgur.com/fIQJN8v.png <http://i.imgur.com/fIQJN8v.png>>
>>> 
>>> And this is my lilypond output so far:
>>> http://i.imgur.com/g2OL258.png 
>>> <http://i.imgur.com/g2OL258.png><http://i.imgur.com/g2OL258.png 
>>> <http://i.imgur.com/g2OL258.png>>
>>> 
>>> 2) This is the wierdest thing. Double up of time, clef and tempo,
>> what is on earth have i done wrong? 
>>> 
>> 
>> 
>> 
>> 
>> 
>> ___
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Re: How to work with large orchestral1 projects

[Carl-Henrik Buschmann]

To use [ ] on the entire piece is simply not acceptable and surely not the way 
lilypond should work.

I found that it is possible to use:

 \set Timing.beatStructure = #'(2 2) 
(http://lilypond.org/doc/v2.18/Documentation/notation/beams 
<http://lilypond.org/doc/v2.18/Documentation/notation/beams>)

which I have tried putting in my global variable. As i showed in my first post, 
this break the beams. Any ideas how to make the beams automaticly span 4 8s?


Med vennlig hilsen,
Carl-Henrik Buschmann
Lektor


> 20. feb. 2016 kl. 22.02 skrev Carl-Henrik Buschmann :
> 
> Hi guys,
> 
> I'm trying to learn how to use lilypond to typeset orchestral material. 
> Handling large projects is fun but good documentation regarding this is hard 
> to come by. I'm still a lilypond novice and my Google-Fu has let me down, I 
> need help. 
> 
> 4) I want the beams to stretch 4 8ths and break if necessary. My puny attempt 
> thus far looks bonkers. 
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Re: How to work with large orchestral1 projects

[Carl-Henrik Buschmann]

I found that it was 
\slashedGrace {b8}
that caused the whole double time signature thing. I can only assume it is a 
bug. I still need a acciaccatura though. Any thoughts?


Med vennlig hilsen,
Carl-Henrik Buschmann
Lektor


> 20. feb. 2016 kl. 22.02 skrev Carl-Henrik Buschmann :
> 
> Hi guys,
> 
> I'm trying to learn how to use lilypond to typeset orchestral material. 
> Handling large projects is fun but good documentation regarding this is hard 
> to come by. I'm still a lilypond novice and my Google-Fu has let me down, I 
> need help. 
> 
> I'm using my own orchestration which i engraved in Sibelius a while back.
> 
> This is my original sibelius score i.e.: the "ideal":
> http://i.imgur.com/fIQJN8v.png <http://i.imgur.com/fIQJN8v.png>
> 
> And this is my lilypond output so far:
> http://i.imgur.com/g2OL258.png <http://i.imgur.com/g2OL258.png>
> 
> 2) This is the wierdest thing. Double up of time, clef and tempo, what is on 
> earth have i done wrong? 
> 

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How to work with large orchestral1 projects

[Carl-Henrik Buschmann]

Hi guys,

I'm trying to learn how to use lilypond to typeset orchestral material. 
Handling large projects is fun but good documentation regarding this is hard to 
come by. I'm still a lilypond novice and my Google-Fu has let me down, I need 
help. 

I'm using my own orchestration which i engraved in Sibelius a while back.

This is my original sibelius score i.e.: the "ideal":
http://i.imgur.com/fIQJN8v.png <http://i.imgur.com/fIQJN8v.png>

And this is my lilypond output so far:
http://i.imgur.com/g2OL258.png <http://i.imgur.com/g2OL258.png>

Since this is a rather large project i use git to track my learning curve. 
Source files: 
https://github.com/chbuschmann/Nordlandsk.git 
<https://github.com/chbuschmann/Nordlandsk.git>


%%I've circled and numbered things in my lilypond output that i need help with.
1) The title. Is there a sensibale way to adjust font/fontsize and placement of 
the title? (this is most likely an easy thing, but it would be nice to hear how 
you guys deal with it)

2) This is the wierdest thing. Double up of time, clef and tempo, what is on 
earth have i done wrong? 

3) I want the beams to and from rests, with stemlets, like so: 
http://i.imgur.com/62wXphp.png <http://i.imgur.com/62wXphp.png> 

4) I want the beams to stretch 4 8ths and break if necessary. My puny attempt 
thus far looks bonkers. 

5) I tried making a scordatura using a snippet from LRS. Perhaps my eyes are 
playing tricks with me, the font size seems off, to large?

%%General questions
6) I also wonder about parts creation. How do i set it up? 

7) When i did the Sibelius engraving, i came to the conclution that A3 was the 
proper page format. Once i've entered my music, will lilypond scale the score 
to fill the entire page, like it does with A4, OR; do i need to make 
adjustments to font and/or staff sizes?

8) I've searched far and wide but have not found a way to make large/huge time 
signatures. This is what i really want (from Adler): 
http://i.imgur.com/Jn971jP.png <http://i.imgur.com/Jn971jP.png> 

9) Where to i place system wide events, like repetitions, time and tempo? In a 
single voice, all the voices or something else? As of now i use the top 
instrument as a "global master", but my gut keeps telling me there has to be a 
better way. 


Thank you for your time.



Med vennlig hilsen,
Carl-Henrik Buschmann

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Re: Horizontal spacing - choir

[Carl-Henrik Buschmann]

Things are comming along. What i find is that some fonts simply does not work 
and thus activates the horrendous sans-serif thing. 

Thank you!


Carl-Henrik

> 14. feb. 2016 kl. 23.00 skrev Noeck :
> 
> Hi Carl-Henrik,
> 
> that's what I mean by figure out the correct font name. On lilybin,
> these two work for me:
> \override Lyrics.LyricText.font-name = "Palatino"
> \override Lyrics.LyricText.font-name = "Palatino Regular"
> 
> Your name "Palatino-Regular" does not exist and then some ugly default
> sans-serif font is chosen.
> 
> Cheers,
> Joram


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Re: Horizontal spacing - choir

[Carl-Henrik Buschmann]

Hi,

It did something, but not what i expect. Cannot get it to conform to the font i 
wish. Running latest OS X and latest lily-stuff.

http://lilybin.com/15a0y9/10 <http://lilybin.com/15a0y9/10>



> 14. feb. 2016 kl. 22.05 skrev Carl-Henrik Buschmann :
> 
> Joram,
> 
> Thank you - will test. Sorry to say your mail did not come to my mailbox, 
> only in the digest. Will check my subscription settings.

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Re: Horizontal spacing - choir

[Carl-Henrik Buschmann]

Joram,

Thank you - will test. Sorry to say your mail did not come to my mailbox, only 
in the digest. Will check my subscription settings.
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Re: Horizontal spacing - choir

[Carl-Henrik Buschmann]

No luck, at least on my system. 

Regardless of font, how to make the font size smaller?


Carl-Henrik

> 14. feb. 2016 kl. 20.27 skrev Simon Albrecht :
> 
> On 14.02.2016 20:24, Carl-Henrik Buschmann wrote:
>> I tried this inside the lyrics, i dont see any change though:
>> 
>> \override LyricText #'font-name = #Alegreya-Regular
> 
> You need to give the font name as a string, in this case:
> \override LyricText.font-name = "Alegreya"
> (untested)
> 
> HTH, Simon


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Re: Horizontal spacing - choir

[Carl-Henrik Buschmann]

I tried this inside the lyrics, i dont see any change though:

\override LyricText #'font-name = #Alegreya-Regular

http://lilybin.com/15a0y9/8 (thought it does not compile in lilybin - it works 
fine on my mac).

DRAWING blanks, again.


Carl-Henrik

> 14. feb. 2016 kl. 17.40 skrev Carl-Henrik Buschmann :
> 
> Thank you for the heads up. Will revise the dynamics, slurs and phrasings.
> 
> Fonts. I’ve tried looking in the manual but i shoot blanks: how do i change 
> the font and font size of the lyrics?
> 
> 
>> 14. feb. 2016 kl. 15.44 skrev Simon Albrecht :
>> 
>> Hello,
>> 
>> On 14.02.2016 12:58, Carl-Henrik Buschmann wrote:
>>> I need advice on how to best typeset my SATB score. The problem revolves 
>>> around horizontal spacing.
>>> 
>>> http://lilybin.com/15a0y9/2
>>> 
>>> I feel it is a bit cramped and the breaks do not flow naturally.
>> 
>> I don’t think it’s cramped – well, I like ‘cramped’ old Peters editions, so 
>> that may be anachronistic and personal taste.
>> 
>>> What can i do to improve?
>> 
>> Choose a narrower text font – I like and often use Alegreya from 
>> fontsquirrel.org. I’d not advise using a smaller text font, since it gives 
>> an ill proportion between text and music size. However I find it perfectly 
>> alright to use a fontsize of 16 for choral scores. It will remain well 
>> legible.
>> 
>> What’s more, (well-made) choral scores _always_ print dynamics above the 
>> staff to not have them on the same side like the lyrics. There’s a number of 
>> cases in your example where I’d also move slurs and ties, maybe even scripts 
>> above the staff. But that’s a matter of style as well.
>> 
>> And I’d suggest to always use proper lyric hyphens, since the misaligned 
>> syllables at the end of bars 19 and 39 are confusing. You can avoid creating 
>> a melisma with the slur by either removing slurMelismaBusy from 
>> melismaBusyProperties or using phrasing slurs { \( \) }.
>> 
>> HTH, Simon
> 


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Re: Horizontal spacing - choir

[Carl-Henrik Buschmann]

Thank you for the heads up. Will revise the dynamics, slurs and phrasings.

Fonts. I’ve tried looking in the manual but i shoot blanks: how do i change the 
font and font size of the lyrics?


> 14. feb. 2016 kl. 15.44 skrev Simon Albrecht :
> 
> Hello,
> 
> On 14.02.2016 12:58, Carl-Henrik Buschmann wrote:
>> I need advice on how to best typeset my SATB score. The problem revolves 
>> around horizontal spacing.
>> 
>> http://lilybin.com/15a0y9/2
>> 
>> I feel it is a bit cramped and the breaks do not flow naturally.
> 
> I don’t think it’s cramped – well, I like ‘cramped’ old Peters editions, so 
> that may be anachronistic and personal taste.
> 
>> What can i do to improve?
> 
> Choose a narrower text font – I like and often use Alegreya from 
> fontsquirrel.org. I’d not advise using a smaller text font, since it gives an 
> ill proportion between text and music size. However I find it perfectly 
> alright to use a fontsize of 16 for choral scores. It will remain well 
> legible.
> 
> What’s more, (well-made) choral scores _always_ print dynamics above the 
> staff to not have them on the same side like the lyrics. There’s a number of 
> cases in your example where I’d also move slurs and ties, maybe even scripts 
> above the staff. But that’s a matter of style as well.
> 
> And I’d suggest to always use proper lyric hyphens, since the misaligned 
> syllables at the end of bars 19 and 39 are confusing. You can avoid creating 
> a melisma with the slur by either removing slurMelismaBusy from 
> melismaBusyProperties or using phrasing slurs { \( \) }.
> 
> HTH, Simon


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Horizontal spacing - choir music

[Carl-Henrik Buschmann]

Hey,

I need advice on how to best typeset my SATB score. The problem revolves around 
horizontal spacing. 

http://lilybin.com/15a0y9/2

I feel it is a bit cramped and the breaks do not flow naturally. In the source 
you will see what i have already attempted. Perhaps those attempts are the way 
to go but i need the eyes of the crowd. 


Best,
Carl-Henrik
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Re: Horizontal spacing - choir

[Carl-Henrik Buschmann]

http://lilybin.com/15a0y9/6
Things are coming along quite nicely. Thank you for your suggestions. 

I'd appreciate any tips you all see to make this even more beautiful.



> 14. feb. 2016 kl. 13.37 skrev Pierre Perol-Schneider 
> :
> 
> With the same number of systems?
> 
> \layout {
>system-count = 18
>\context { 
>   \Score 
>   \override LyricText #'font-size = #-1 
> } 
> }
> 
> If not fine, have you tried Joram's idea?
> 
> 
> 
> 2016-02-14 13:22 GMT+01:00 Carl-Henrik Buschmann  <mailto:chbuschm...@mac.com>>:
> It definitly helps, but it still feels cramped. 
> 
> I used:
> \context { 
>   \Score 
>   \override LyricText #'font-size = #-1 
> } 
> 
> 
> 
>> 14. feb. 2016 kl. 13.16 skrev Pierre Perol-Schneider 
>> mailto:pierre.schneider.pa...@gmail.com>>:
>> 
>> Hi Carl-Henrik,
>> 
>> How about a smaller font size for the lyrics?
>> 
>> Cheers,
>> Pierre
>> 
>> 2016-02-14 12:58 GMT+01:00 Carl-Henrik Buschmann > <mailto:chbuschm...@mac.com>>:
>> Hey,
>> 
>> I need advice on how to best typeset my SATB score. The problem revolves 
>> around horizontal spacing. 
>> 
>> http://lilybin.com/15a0y9/2 <http://lilybin.com/15a0y9/2>
>> 
>> I feel it is a bit cramped and the breaks do not flow naturally. What can i 
>> do to improve?
>> 
>> In the source you will see what i have already attempted. Perhaps those 
>> attempts are the way to go but the eyes of the crowd usually works wonders.
>> 
>> 
>> Best,
>> Carl-Henrik
>> 
>> 
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>> 
> 
> 

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Re: Horizontal spacing - choir

[Carl-Henrik Buschmann]

It definitly helps, but it still feels cramped. 

I used:
\context { 
  \Score 
  \override LyricText #'font-size = #-1 
} 



> 14. feb. 2016 kl. 13.16 skrev Pierre Perol-Schneider 
> :
> 
> Hi Carl-Henrik,
> 
> How about a smaller font size for the lyrics?
> 
> Cheers,
> Pierre
> 
> 2016-02-14 12:58 GMT+01:00 Carl-Henrik Buschmann  <mailto:chbuschm...@mac.com>>:
> Hey,
> 
> I need advice on how to best typeset my SATB score. The problem revolves 
> around horizontal spacing. 
> 
> http://lilybin.com/15a0y9/2 <http://lilybin.com/15a0y9/2>
> 
> I feel it is a bit cramped and the breaks do not flow naturally. What can i 
> do to improve?
> 
> In the source you will see what i have already attempted. Perhaps those 
> attempts are the way to go but the eyes of the crowd usually works wonders.
> 
> 
> Best,
> Carl-Henrik
> 
> 
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Horizontal spacing - choir

[Carl-Henrik Buschmann]

Hey,

I need advice on how to best typeset my SATB score. The problem revolves around 
horizontal spacing. 

http://lilybin.com/15a0y9/2 

I feel it is a bit cramped and the breaks do not flow naturally. What can i do 
to improve?

In the source you will see what i have already attempted. Perhaps those 
attempts are the way to go but the eyes of the crowd usually works wonders.


Best,
Carl-Henrik

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Re: How to align text and dynamixs

[Carl-Henrik Buschmann]

Thank you! (Stupid brain seizing to work in the night, of course it is 
articulations...) 

It did the trick but i only understand half of what's going on in what you 
wrote. In the interest of learning, would you min decypher or give a pointer 
where to read?

> 2. feb. 2016 kl. 00.42 skrev Thomas Morley :
> 
> 2016-02-02 0:08 GMT+01:00 Carl-Henrik Buschmann :
>> I wonder how to align text and dynamics? I need it to explain a certain
>> action when using a certain symbol. I guess this question could be answered
>> several ways: 1) is it possible to write dynamic/other symbols in markup? 2)
>> How to gently force horizontal alignment between a dynamic/other mark and
>> \markup?
>> 
>> 
>> MWE
>> 
>> \version "2.19.35"
>> 
>> {
>>  c'->_\markup { \tiny \italic (stomp) }
>> }
>> 
>> {
>>  c'_\markup { > \tiny \italic (stomp) }
>> }
>> 
>> 
>> Carl
>> 
> 
> 
> Hi Carl,
> 
> your examples doesn't show any dynamic but articulations, i.e. accents.
> 
> Maybe you'll find the below helpfull though:
> 
> %%1 DynamicText
> stompMrkp =
> \markup {
>  \musicglyph #"scripts.sforzato" \normal-text \vcenter \tiny \italic (stomp)
> }
> 
> stompSfz = #(make-dynamic-script stompMrkp)
> 
> {
>  c'-\tweak self-alignment-X #LEFT -\tweak parent-alignment-X #LEFT _\stompSfz
> }
> 
> %%2 markup
> {
>  c'_\markup \concat {
>\null
>\musicglyph #"scripts.sforzato"
>\hspace #0.6
>\vcenter \tiny \italic (stomp)
>  }
> }
> 
> Cheers,
>  Harm


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How to align text and dynamixs

[Carl-Henrik Buschmann]

I wonder how to align text and dynamics? I need it to explain a certain action 
when using a certain symbol. I guess this question could be answered several 
ways: 1) is it possible to write dynamic/other symbols in markup? 2) How to 
gently force horizontal alignment between a dynamic/other mark and \markup?


MWE

\version "2.19.35"

{ 
  c'->_\markup { \tiny \italic (stomp) }
}

{ 
  c'_\markup { > \tiny \italic (stomp) }
}


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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

This is smashing! Great job. 

The alignment of the chords, is it possible to push above the staff like 
traditional chords? The 8, is it part of a multi rest? 



> 18. jan. 2016 kl. 11.40 skrev Robert Schmaus :
> 
> 
> --
> Note beforehand: I'm sending this from a phone, and I can't control if the 
> attached picture is sent inline or not - hope you can see it, otherwise I'll 
> have to resend it later today. 
> --
> 
> Hi Carl-Henrik,
> 
> Fwiw, I write jazz sheets all the time, and I've trimmed Lilypond to produce 
> stuff like this:
> 
> 
> 
> So, Lilypond is quite able to produce those complex chords you mention. This 
> is definitely not out of the box though ... I've put quite some work into it. 
> But I guess it goes along the lines of what Kieren sent you earlier ...
> 
> The question if it is sensible to go that way is something else.
> 
> Best, Robert 
> 
> 
> 
> On 17 Jan 2016, at 20:30, Carl-Henrik Buschmann  <mailto:chbuschm...@mac.com>> wrote:
> 
>> Sorry, thought the thread was referenced. 
>> 
>> I'm wondering if lilypond is able to notate complex chords, as discussed in 
>> the before mentioned thread. 
>> Examples as shown: 
>> 
>> 
>> 
>>> Den 17. jan. 2016 kl. 20.18 skrev Thomas Morley >> <mailto:thomasmorle...@gmail.com>>:
>>> 
>>> 2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann >> <mailto:chbuschm...@mac.com>>:
>>>> Any news regarding this?
>>> 
>>> 
>>> 
>>> Well, what's "this"?
>>> LilyPond exists, yes. There is no common definiton of "JazzChords".
>>> So, no news. ;)
>>> Maybe you may want to be a little more specific?
>>> 
>>> Cheers,
>>> Harm
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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

Chill pills for everybody! Smile :-)

> 18. jan. 2016 kl. 09.39 skrev David Kastrup :
> 
> There is no "brains that code" who have to placate "us" by "at least
> giving us a *working* solution".



I see how that might have been misunderstood, but please belive it was with the 
best of intentions, no disrespect to the guys keeping the fire going. If i 
could code this i would!

The way lilypond treats chords right now are lacking for anything but basic 
chords, this much we are agreed apon. The "real book" convention is a very good 
place to start. Let us not be so childish that we abandon that quest in a hay 
fire of name calling. 


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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

> 18. jan. 2016 kl. 02.40 skrev tim...@bitstream.net:
> 
>> 
>> On Jan 17, 2016, at 4:16 PM, Carl-Henrik Buschmann  
>> wrote:
>> 
>> While i might agree with you to some extent this is also a practial matter: 
>> 
>> 1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter 
>> of culture and personal taste. But consider the following: A C7, a dominant, 
>> might tell a performing musician lots but when dealing with academic and 
>> analysis it is quite thin if the actual sounding timbre is a C13(b9), also a 
>> dominant, but allowed for when performing certain styles. What the 
>> composer/arranger chooses to do, is a different case than the needs of the 
>> academic (and specific composer/arranger).
> 
> Perhaps.  Musicality and practicality often seem secondary in academic 
> pursuits as it is the idea that seems primary, not the resultant. 13b9 chords 
> are common enough in jazz, though, although practically speaking in 
> improvisation it is often more fruitful to think of them as a polychord- C7 
> with A major triad superimposed in this case- as this offers more options.

While i agree on this way of thinking *practically* makes a lot of sense. But 
you are talking about changing a whole culture of thinking. To sum up: Stacked 
chords are useful for in some musical settings but it is not the future as of 
yet as they do not display function.

Although the ever singing chorus here on lilypond-user is that there is no 
agreed apon conventions in chords, i disagree both as a musician and a scholar. 
The way to notate jazz/pop chords are established thoroughly through the "real 
book" series and others. 

Kieren is thankfully working on this and i hope the brains that code for 
lilypond can bash heads together and at least give us a *working* solution and 
stop bickering over personal preferences that only hinder the development. 

> 
>> 2) There is also the matter of spacing. Cmaj7 #5 b9 #11/F# is stealing a 
>> whole system! That is insane (in the membrane!) and i stand by my statement 
>> that the default output of lilypond is undesirable.
> 
> Which is why you can create chord exceptions to the default behavior.
> 
> Excessive definition of chords restricts the freedom of the musician- for 
> jazz, maximizing freedom is more useful.

I see your point and I agree.

> 
>> Both Sibelius and Finale have a comprehensive libraries of chords and while 
>> not to everybodys taste, it does pave the way for a good default. The people 
>> of Sib and Fin have done theire homework. Sibelius perhaps even more so 
>> regarding chords. Perhaps it is possible to look what have already been 
>> done? 
> 
> Their code is proprietary, unlike Lilypond, and it may be that one of those 
> applications would be more suitable for your needs.  Indeed, given the 
> expectations of the academic and publishing worlds it would probably be 
> required that you submit the piece as a Finale or Sibelius file in any event. 
>  Ideally Lilypond should be able to use a variety of chord rendering formats, 
> but given that it is developed largely by unpaid volunteers it may take a 
> while to get there.

I'm not talking about code, i'm talking about style. And by the looks of it 
Sibelius at least have by and large been inspired by B&R. But as you said, 
predefined is not the way to go. Even so, look at what they have done and 
simply mimick the behaviour. "Great artists steal".  

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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

While i might agree with you to some extent this is also a practial matter: 

1) Whether or not you call it maj or *triangle*, m or MI is indeed a matter of 
culture and personal taste. But consider the following: A C7, a dominant, might 
tell a performing musician lots but when dealing with academic and analysis it 
is quite thin if the actual sounding timbre is a C13(b9), also a dominant, but 
allowed for when performing certain styles. What the composer/arranger chooses 
to do, is a different case than the needs of the academic (and specific 
composer/arranger).

2) There is also the matter of spacing. Cmaj7 #5 b9 #11/F# is stealing a whole 
system! That is insane (in the membrane!) and i stand by my statement that the 
default output of lilypond is undesirable.

Both Sibelius and Finale have a comprehensive libraries of chords 
<http://i.imgur.com/t7torHR.png> and while not to everybodys taste, it does 
pave the way for a good default. The people of Sib and Fin have done theire 
homework. Sibelius perhaps even more so regarding chords. Perhaps it is 
possible to look what have already been done? 


> 17. jan. 2016 kl. 23.00 skrev Tim McNamara :
> 
> 
>> On Jan 17, 2016, at 3:28 PM, Carl-Henrik Buschmann  
>> wrote:
>> 
>> A properly formatet complex chord stacks alterations in parenthesis.
> 
> Hemmm, that is a matter of individual preferences.  As a jazz musician I find 
> parentheses in chords add to the visual clutter and add no useful 
> information.  More characters add more confusion.  Cmaj7#4 is less trouble to 
> read than Cmaj7(#4) on the bandstand in an unfamiliar tune.
> 
> Of course 90% of the extensions that are written on lead sheets are ignored 
> anyway in favor of what the musician’s ear tells him or her what to play.  
> Composers should generally save themselves the bother.

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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

There are a few musicologist, you'd be suprised how many, that comes from jazz 
or popular music. Yes, I'm one of them. As far as i can see this Brandt & 
Roemer thing is a work in progress. I'm thankfull somebody seems to be working 
on it! 

There is however much to be done before chords in Lilypond are mature enough to 
use for jazz chord notation. I'm crossing my fingers that a lilypond-programmer 
reads this and takes pity on us who needs this for our work.


> 17. jan. 2016 kl. 22.25 skrev Blöchl Bernhard 
> :
> 
> I follow this nonsense thread just for entertainement with wild references to 
> any-/something and found i. e
> https://lists.gnu.org/archive/html/lilypond-user/2015-11/msg00950.html
> and
> https://lists.gnu.org/archive/html/lilypond-user/2015-11/pdfsKndJHU0dl.pdf
> 
> Two questions:
> 1. Why is Cm69 (ly) = C6/9 (BR)? Where is the "MI" gone? Is it kind of
> implied? I don't see it.
> (I omit the second)
> Did you know, that the C6/9 Guitar Chord has alternate Names: Cmaj6/9, CM6/9, 
> CMAJ6/9 - where is the minor
> You might find that in google or in some serious jazz harmony books. If you 
> are serieous working in music - check it and think about.
> 
> Which one do you think is the correct one? Do you really think that serous 
> jazz musicians get skid whith such?
> 
> 
> 
> Am 17.01.2016 21:59, schrieb Blöchl Bernhard:
>> Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann:
>>> http://i.imgur.com/crR5239.png [3]
>>> I have googled my ass off on how to get "jazz chords" properly
>>> formated.
>> What is "properly" formated? Where is your wrong formated code example?
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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

Thank you.

This is indeed a good start! However. How to adjust the lenght of the 
parenthesis? As of now they only encapsule 1/3 of the stack. I havent the 
foggiest on how to make them "flexible". 


> 17. jan. 2016 kl. 22.25 skrev Kieren MacMillan 
> :
> 
> Hi Carl-Henrik,
> 
> Here’s a start for you.
> 
> Hope this helps!
> Kieren.
> 
>   SNIPPET BEGINS
> \version "2.19.35"
> \language "english"
> 
> chordFlat = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \flat 
> \hspace #0.2 }
> chordSharp = \markup \concat { \hspace #0.1 \raise #0.5 \fontsize #-1 \sharp 
> \hspace #0.2 }
> 
> jazzChords-markups = {
>  -\markup \concat { "7" "(" \raise #2 \fontsize #-5 
> \center-column { \concat { \chordSharp "11" } \concat { \chordFlat "9" } 
> \concat { \chordSharp "5" } } ")" }
> }
> 
> jazzChords-add = #(append (sequential-music-to-chord-exceptions 
> jazzChords-markups #t) ignatzekExceptions)
> 
> \layout { \context { \Score chordNameExceptions = #jazzChords-add } }
> 
> chords-test = \chordmode {
>  d1
>  d1:m
>  d1:7
>  d1:7.5+.11+.9-
> }
> 
> \score {
>  <<
>\new ChordNames \chords-test
>\new Staff \chords-test
>>> 
> }
> 
>   SNIPPET ENDS
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
> 


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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

A properly formatet complex chord stacks alterations in parenthesis. Lilyponds 
default is:

\version "2.19.35"

\header {
  tagline = ""
}

ChordNames = \chordmode {
  \set majorSevenSymbol = \markup { maj7 }
  d:maj7.5+.9-.11+
}

upper = \relative c'{
  \clef G
  < d fis ais cis ees gis >1
}

lower = \relative c {
  \clef F
  d1
}

\layout {
  \context {
\ChordNames
\override ChordName.font-family = #'roman
\override ChordName.font-size = #0
  }
}

This is undesirable.

> 17. jan. 2016 kl. 21.59 skrev Blöchl Bernhard 
> :
> 
> Am 17.01.2016 21:33, schrieb Carl-Henrik Buschmann:
> 
>> http://i.imgur.com/crR5239.png [3]
>> I have googled my ass off on how to get "jazz chords" properly
>> formated.
> 
> What is "properly" formated? Where is your wrong formated code example?
> 
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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

Harm,

This is the original thread (sorry about that one, really thought answering the 
original thread brought up the history):

http://lists.gnu.org/archive/html/lilypond-user/2009-07/msg00274.html 

Here is a imgur link to the image I referenced (Also, chill. I'm only asking 
for help. We are not mind readers, hard to know what you prefer or not.)

http://i.imgur.com/crR5239.png

I have googled my ass off on how to get "jazz chords" properly formated. The 
lilypond manual 
<http://lilypond.org/doc/v2.16/Documentation/notation/chord-mode#extended-and-altered-chords>
 isn't exactly being straight about the matter. I do know it *should* be 
possible and i'm humbly asking for a hint at formating as shown in the picture 
i linked/sendt. It is hard procuring a minimal example when all i can do is 
produce a c:7.

> 17. jan. 2016 kl. 21.12 skrev Thomas Morley :
> 
> 
> 
> 2016-01-17 20:30 GMT+01:00 Carl-Henrik Buschmann  <mailto:chbuschm...@mac.com>>:
> Sorry, thought the thread was referenced. 
> 
> I'm wondering if lilypond is able to notate complex chords, as discussed in 
> the before mentioned thread. 
> 
> I've still no clue which thread you mean.
> It isn't referenced in any way. Please provide a link.
>  
> Examples as shown: 
> 
> I can't see any image. As others I prefer text-only messages, no 
> inline-images, no html etc.
> Please attach them. I think this should be the default for a mailinglist 
> about coding.
> 
> I can look up your image at
> http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html
>  
> <http://lilypond.1069038.n5.nabble.com/Re-Lilypond-and-Jazz-chords-td186007.html>
> but that's going on my nerves.
> 
> Nevertheless, some of the chord-symbols there are lilypond-default, some not.
> Use chord-exceptions for them.
> 
> -Harm
> 
>  
> 
> 
> 
> 
>> Den 17. jan. 2016 kl. 20.18 skrev Thomas Morley > <mailto:thomasmorle...@gmail.com>>:
>> 
>> 2016-01-17 19:55 GMT+01:00 Carl-Henrik Buschmann > <mailto:chbuschm...@mac.com>>:
>>> Any news regarding this?
>> 
>> 
>> 
>> Well, what's "this"?
>> LilyPond exists, yes. There is no common definiton of "JazzChords".
>> So, no news. ;)
>> Maybe you may want to be a little more specific?
>> 
>> Cheers,
>> Harm
> 
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Re: Lilypond and Jazz chords

[Carl-Henrik Buschmann]

Any news regarding this?


Carl-Henrik

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Re: smallest possible bounding box

[Carl-Henrik Buschmann]

Kevin, please humor a LP novice: Let us say my file was the one you would use 
in a .tex. What would you do?


> 17. jan. 2016 kl. 16.55 skrev Kevin Barry :
> 
> My workflow consists almost exclusively of producing musical examples for 
> including in Latex. I have the following code in a style file that will crop 
> things as small as possible. After that you will have to adjust the line 
> width manually (depending on your latex document's \textwidth).
> 
> #(ly:set-option 'backend 'eps)
> #(ly:set-option 'aux-files #f)
> 
> \paper {
>   left-margin = 0
>   right-margin = 0
>   oddFooterMarkup=##f
>   oddHeaderMarkup=##f
>   indent = 0
> }
> 
> On 17 January 2016 at 15:04, Simon Albrecht  <mailto:simon.albre...@mail.de>> wrote:
> On 17.01.2016 13:01, Carl-Henrik Buschmann wrote:
> Good suggestion. This of course works fine but it means manual labor and 
> guessing.  What is the point of a computer if it cannot do this for us?
> 
> I tried -dpreview but could not get it to work. Help a poor noob, please.
> 
> The command line would be
> $lilypond -dpreview INPUTFILE.ly
> In case you use Frescobaldi, you can do it via the ‘Lilypond/Engrave 
> (custom)’ dialogue.
> 
> HTH, Simon
> 
> 
> 
> Den 17. jan. 2016 kl. 12.49 skrev Pierre Perol-Schneider 
> mailto:pierre.schneider.pa...@gmail.com> 
> <mailto:pierre.schneider.pa...@gmail.com 
> <mailto:pierre.schneider.pa...@gmail.com>>>:
> 
> Hi Carl-Henrik,
> 
> Simply defined the 'paper' dimension you'd like :
> 
> \paper {
>   paper-height = 150
>   paper-width = 50
> }
> 
> E.g. :
> 
> \version "2.19.35"
> 
> %---
> % Global variables
> %---
> global = {
>   \time 4/4
>   \key c \major
> }
> 
> %---
> % Music
> %---
> NRT = \relative {
>   \global
>   \clef G
>   \hideNotes
>   c' d e
> }
> 
> high = \relative {
>   \global
>   \clef G
>   \hideNotes
>   c' d e
> }
> 
> low = \relative {
>   \global
>   \clef F
>   \hideNotes
>   c d e
> }
> 
> %---
> % Score
> %---
> 
> \paper {
>   paper-height = 150
>   paper-width = 50
>   top-margin = 0
>   bottom-margin = 0
>   left-margin = 0
>   right-margin = 0
>   indent = 22
> }
> 
> \header {
>   tagline = ""
> }
> 
> \score {
>   <<
> \new Staff \with { instrumentName = "Analysis" }
>   { \NRT }
> \new GrandStaff \with { instrumentName = "Woodwind" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { instrumentName = "Brass" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { instrumentName = "Strings" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with {
>   instrumentName = \markup \right-column {
> "Piano"
> "Aux."
> }
>   } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
>   >>
> 
> %---
> % Layout
> %---
>   \layout {
> \context {
>   \Score
>   timing = ##f
> }
> \context {
>   \GrandStaff
>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
> }
> \context {
>   \Staff
>   \omit TimeSignature
>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
> }
>   }
> }
> 
> 
> HTH,
> Pierre
> 
> 2016-01-17 12:30 GMT+01:00 Carl-Henrik Buschmann  <mailto:chbuschm...@mac.com> <mailto:chbuschm...@mac.com 
> <mailto:chbuschm...@mac.com>>>:
> 
> > 17. jan. 2016 kl. 12.22 skrev Simon Albrecht  <mailto:simon.albre...@mail.de> <mailto:simon.albre...@mail.de 
> <mailto:simon.albre...@mail.de>>>:
> >
> > On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
> >>
> >> 2) I need to export pngs for my latex documents and i would
> like the bounding box to be as small as possible. How do i do this?
> >
> > It’s not quite clear what you want. Perhaps:
> > \paper {
> >  top-margin = 0
> >  bottom-margin = 0
> >  left-margin = 0
> >  right-margin = 0
> > }
> > ?
> >
&g

Re: smallest possible bounding box

[Carl-Henrik Buschmann]

Good suggestion. This of course works fine but it means manual labor and 
guessing.  What is the point of a computer if it cannot do this for us? 

I tried -dpreview but could not get it to work. Help a poor noob, please. 


> Den 17. jan. 2016 kl. 12.49 skrev Pierre Perol-Schneider 
> :
> 
> Hi Carl-Henrik,
> 
> Simply defined the 'paper' dimension you'd like :
> 
> \paper {
>   paper-height = 150
>   paper-width = 50
> }
> 
> E.g. :
> 
> \version "2.19.35"
> 
> %---
> % Global variables
> %---
> global = {
>   \time 4/4
>   \key c \major
> }
> 
> %---
> % Music
> %---
> NRT = \relative {
>   \global
>   \clef G
>   \hideNotes
>   c' d e 
> }
> 
> high = \relative {
>   \global
>   \clef G
>   \hideNotes
>   c' d e
> }
> 
> low = \relative {
>   \global
>   \clef F
>   \hideNotes
>   c d e
> }
> 
> %---
> % Score
> %---
> 
> \paper {
>   paper-height = 150
>   paper-width = 50
>   top-margin = 0
>   bottom-margin = 0
>   left-margin = 0
>   right-margin = 0
>   indent = 22
> }
> 
> \header {
>   tagline = ""
> }
>  
> \score {
>   <<
> \new Staff \with { instrumentName = "Analysis" }
>   { \NRT }
> \new GrandStaff \with { instrumentName = "Woodwind" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { instrumentName = "Brass" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { instrumentName = "Strings" } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> \new GrandStaff \with { 
>   instrumentName = \markup \right-column {
> "Piano"
> "Aux."
> }
>   } <<
>   \new Staff { \high }
>   \new Staff { \low }
> >>
>   >>
> 
> %-------
> % Layout 
> %---
>   \layout {
> \context {
>       \Score
>   timing = ##f
> }
> \context {
>   \GrandStaff
>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
> }
> \context {
>   \Staff
>   \omit TimeSignature
>   \override InstrumentName.self-alignment-X = #RIGHT %% or 1
> }
>   }
> }
> 
> 
> HTH,
> Pierre
> 
> 2016-01-17 12:30 GMT+01:00 Carl-Henrik Buschmann :
>> > 17. jan. 2016 kl. 12.22 skrev Simon Albrecht :
>> >
>> > On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
>> >>
>> >> 2) I need to export pngs for my latex documents and i would like the 
>> >> bounding box to be as small as possible. How do i do this?
>> >
>> > It’s not quite clear what you want. Perhaps:
>> > \paper {
>> >  top-margin = 0
>> >  bottom-margin = 0
>> >  left-margin = 0
>> >  right-margin = 0
>> > }
>> > ?
>> >
>> > Best, Simon
>> 
>> When making snippets I dont need the entire A4 paper, i just need the music. 
>> The bounding box is the area exported, or cropped if you like. In Sibelius i 
>> can check a box and it eliminates all unnecessary white space.
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Re: Instrument names and smallest possible bounding box

[Carl-Henrik Buschmann]

> 17. jan. 2016 kl. 12.24 skrev Malte Meyn :
>> 
>> 2) I need to export pngs for my latex documents and i would like the 
>> bounding 
>> box to be as small as possible. How do i do this?
>> 
> 
> There is a lilypond option -dpreview which does this iirc. And apart
> from that: Do you know lilypond-book?

No, i do not. 


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Re: smallest possible bounding box

[Carl-Henrik Buschmann]

> 17. jan. 2016 kl. 12.22 skrev Simon Albrecht :
> 
> On 17.01.2016 12:10, Carl-Henrik Buschmann wrote:
>> 
>> 2) I need to export pngs for my latex documents and i would like the 
>> bounding box to be as small as possible. How do i do this?
> 
> It’s not quite clear what you want. Perhaps:
> \paper {
>  top-margin = 0
>  bottom-margin = 0
>  left-margin = 0
>  right-margin = 0
> }
> ?
> 
> Best, Simon

When making snippets I dont need the entire A4 paper, i just need the music. 
The bounding box is the area exported, or cropped if you like. In Sibelius i 
can check a box and it eliminates all unnecessary white space.
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Instrument names and smallest possible bounding box

[Carl-Henrik Buschmann]

1) Instrument names. 

The default placement of instrument names seems a bit messy compared to my 
default Sibelius output:



Lilypond:

They seem "off", not alligned properly. This is of course the fault of the 
author. Most likely there is a easy fix. Suggestions?

2) I need to export pngs for my latex documents and i would like the bounding 
box to be as small as possible. How do i do this?

Code:
> \version "2.19.35"
> 
> %---
> % Global variables
> %---
> global = {
>   \time 4/4
>   \key c \major
> }
> 
> 
> %---
> % Music
> %---
> NRT = \relative c' {
>   \global
>   \clef \treble
>   \hideNotes
>   c d e 
> }
> 
> high = \relative c' {
>   \global
>   \clef \treble
>   \hideNotes
>   c d e
> }
> 
> low = \relative c {
>   \global
>   \clef \bass
>   \hideNotes
>   c d e
> }
> 
> 
> 
> %---
> % Score
> %---
> \score {
> <<
> \new Staff { \NRT }
>   \set Staff.instrumentName = "Analysis"
>   
> \new GrandStaff <<
>   \set GrandStaff.instrumentName = "Woodwind" 
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> 
> \new GrandStaff <<
>   \set GrandStaff.instrumentName = "Brass" 
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> 
> \new GrandStaff <<
>   \set GrandStaff.instrumentName = "Strings" 
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> 
> \new GrandStaff <<
>   \set GrandStaff.instrumentName = \markup \right-column {
> "Piano"
> "Aux."
>   }
>   \new Staff { \high }
>   \new Staff { \low }
> >>
> 
> 
>   
> >>
> }
> 
> %---
> % Layout and stuff i dont understand yet
> %---
> \layout {
>   
>  \context {
>\Score
>timing = ##f
>  }
>  \context {
>\Staff
>\remove "Time_signature_engraver"
>  }
> }

Med vennlig hilsen,
Carl-Henrik Buschmann
Lektor

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Re: Help with unexpexted double barline trouble and \markup

[Carl-Henrik Buschmann]

> 
> 15. jan. 2016 kl. 15.32 skrev Chris Yate :
> 
> 
> 
> On 15 January 2016 at 07:07, Carl-Henrik Buschmann  <mailto:chbuschm...@mac.com>> wrote:
> I'm working on a lead sheet but being a novice i'm hitting my head against 
> the wall at some noob problems. 
> 
> Bar 1) 
> Stemlets. Do it have to be this hard creating them? Is there a way to make it 
> global? Also, i want the stemlet to reach down towards the rest. How?
> How do i make custom rehersal marks?
> When using \markup { ... } the whole score looses it layout and to add insult 
> it does not display any text. I must have done something wrong.
> 
> 
> 1) Stemlets: why do you want to write them like this? Normal quavers are fine
> 

1) My experience is that reading rhythms with the stemlets over the rests helps 
alot. It is a tad "modern" but generally approved. Is there a way to make it 
global? 


> 2) use \mark "A", not \markup "A"
>  

2) Thank you!


> Bar 8)
> Why does the double barline not exend equaly through both staffs?
>  
> 
> You've made the lower staff smaller with   \magnifyStaff #5/7, so its barline 
> will be a different size too.  I've had this with instrumentname recently 
> (answered on here, it's by design)
> 
>  

3) Is it perhaps better do make an ossai staff? I'm a little scared by ossias. 
Seems like a lot of work to get it done. 
> 

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Help with unexpexted double barline trouble and \markup

[Carl-Henrik Buschmann]

I'm working on a lead sheet but being a novice i'm hitting my head against the wall at some noob problems. Bar 1) Stemlets. Do it have to be this hard creating them? Is there a way to make it global? Also, i want the stemlet to reach down towards the rest. How?How do i make custom rehersal marks?When using \markup { ... } the whole score looses it layout and to add insult it does not display any text. I must have done something wrong.Bar 8)Why does the double barline not exend equaly through both staffs?Bar 37)Why does it not show a double bar line?And finally: I feel my score is a mess. How can i clean up/simplify my input? Also, inputing this takes alot of time considering how long use on inputing this in Sibelius (added as pfd). What can i do to speed this up? Help and encouragement is much obliged.Images of lilypond and sibelius (reference) outout.http://imgur.com/a/Izl8D .ly attached. 

C-Buschmann-Bad-Eye-Bill.ly
Description: Binary data


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Markup breaking score, stemlets not behaving, double barlines not showing.

[Carl-Henrik Buschmann]

I'm working on a lead sheet but being a novice i'm hitting my head against the wall at some noob problems. Bar 1) Stemlets. Do it have to be this hard creating them? Is there a way to make it global? Also, i want the stemlet to reach down towards the rest. How?How do i make custom rehersal marks?When using \markup { ... } the whole score looses it layout and to add insult it does not display any text. I must have done something wrong.Bar 8)Why does the double barline not exend equaly through both staffs?Bar 37)Why does it not show a double bar line?And finally: I feel my score is a mess. How can i clean up/simplify my input? Also, inputing this takes alot of time considering how long use on inputing this in Sibelius (added as pfd). What can i do to speed this up? Help and encouragement is much obliged.Images of lilypond and sibelius (reference) outout.http://imgur.com/a/Izl8D .ly attached. 

C-Buschmann-Bad-Eye-Bill.ly
Description: Binary data
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Re: How to reproduce this?

[Carl-Henrik Buschmann]

Thats it! Thank you, this was inspiring.


Buschmann 

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Re: How to reproduce this?

[Carl-Henrik Buschmann]

Thank you, much obliged!

1)
I didnt get...

  \addlyrics \lyricsto "Chords" {
V2 
\markup\concat { \raise #.4 \small\flat VII } 
\markup\center-column {
  \concat { \raise #.7 \small\sharp III }
  IV 
}
I
  }

...to work though:

http://i.imgur.com/aVeeG1V.png

2)
How do i raise the stems to make room for the dotted slurs?

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How to reproduce this?

[Carl-Henrik Buschmann]

Hi,

I'm a Lilypond newbie switching over from Sibelius. As part of my self tutoring 
I have tried my hand at reproducing a example (written in Sib) i used in my 
thesis:

http://i.imgur.com/SboviWR.png

I'm a bit stuck and i hope you guys can give me a nudge. 
This is my feeble attempt:

\version "2.18.2"
\language "german"

<<
\chords { 
  f2 gis4 dis b 
}

\relative c'' {
  \tuplet 3/2 { c8 c c }
  \tuplet 3/2 { c c c }
  \tuplet 3/2 { dis dis dis }
  \tuplet 3/2 { dis dis dis } | %m1
  fis4
}

\\
\relative c' {
  < f a c >2 < gis bis dis >4 < fisis ais dis > | %m1
  < fis b dis >4
}
\addlyrics { 
  V2 bVII III/IV I 
}
>>

Product:
http://i.imgur.com/Ot3HNE2.png

I have many problems:

1) The chords are at the bottom.
2) The chords have the wrong font.
3) I have NO idea how to properly write roman numeral analysis, lyrics is not 
the way to go it seems.
4) The dottet phrasing line.
5) The 1. and 2. voice crash. 

Help?

Buschmann
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