Re: Adjust line spacing in markup column for fingerings

[Curt McDowell]

baseline-skip seems to do the job:

||

Found here: LilyPond snippets: Tweaks and overrides
<https://lilypond.org/doc/v2.23/Documentation/snippets/tweaks-and-overrides>

Regards,
Curt

On 6/20/2024 5:00 PM, Fennel wrote:


Hi all,

Getting this behavior when trying to put fingerings in column format
on chords:

|\version "2.24.3" \relative c'' { \set fingeringOrientations =
#'(left)  } |

I’d like the 1 to be much closer to the 2. Does anyone know the
correct property to adjust to make this happen / where in the docs
should I be looking as my current efforts are not going too well.

-Fennel

​

Re: search and replace on all included files on compile

[Curt McDowell]

Michael,

You mentioned that the score is programmatically generated. If so, can
you modify the generating program and regenerate the score?

Otherwise, a more complete example would be nice. Are you trying to do a
simple string replacement of a few (unicode) characters, or are you
trying to replace larger chunks of LilyPond code?

It would also help to know what operating system environment you are
using. The answer may be to make a copy of the whole tree and run a
search/replace utility recursively on all the files.

Regards,
Curt

On 3/6/2024 10:56 AM, Michael Winter via LilyPond user discussion wrote:

I have a programmatically generated score and am now realizing that I
want to make a small tweak to text markups that are throughout the
score in multiple files that are included at multiple levels.

" 1↑"  replace with " 1" (e.g. remove the up arrow when it is preceded
by a 1)

Is it possible to do this with a global search and replace on compile
such that I do not need to edit each individual file (of which there
are hundreds) manually?

I could do this through the terminal, but I would rather not
destructively edit the files.

Thanks in advance!

Best,

Michael

Re: "Squished" tie between 2 notes

[Curt McDowell]

I often resolve squished ties like that by flipping the tie; e.g., using
*fis^~* to force the tie on top, or *fis_~* to force it to the bottom.
(In this case, it looks good on top, but this doesn't help if you really
want it on the bottom.)

Regards,
Curt

On 2/11/24 09:30, George wrote:

bar 78 lily.png

Re: performance marks

[Curt McDowell]

Thank you, Valentin. It took me a couple hours to convert some
PostScript in one of my big projects to native \path commands, mainly
because the PostScript needed to draw outside the page margins, but I
got it done! I haven't tried it in SVG yet.

https://www.fishlet.com/wp-content/uploads/2018/09/LeCheminDeFer.pdf

Cheers,
Curt

On 2/3/24 16:18, Valentin Petzel wrote:

rather than postscript you should probably use the high level path command.
This will work with other outputs than just SVG.

So instead of

\markup\postscript #"0.17 setlinewidth -1.50 1.25 moveto 0 1.0 rlineto stroke"

do

\markup\path #0.17 #'((moveto -1.5 1.25) (rlineto 0 1))

Cheers,
Valentin

Re: Output PDF to stdout

[Curt McDowell]

Have you actually tried this? LilyPond appends ".pdf" to the output 
filename (and ".midi"). If you try to make the fifo ending in ".pdf", 
you find lilypond removes the fifo before writing a new file. For the 
same reasons, the output file cannot be /dev/stdout. Maybe you could 
write something exciting using FUSE or Docker.


On 1/7/2024 5:41 AM, Raphael Mankin wrote:

On 05/01/2024 03:46, David Wright wrote:
Alternatively, use a fifo, e.g. 


fifo=/var/tmp/ly-pdf$$
rm -rf $fifo
mknod  $fifo p
cat source.ly | lintLy | lilypond -o $fifo &
optimizePDF  < $fifo > score.pdf
wait
rm -rf $fifo

A trick I learned when doing Oracle backups. It also would not write 
to stdout.

Re: How to submit a feature request (issue)

[Curt McDowell]

I don't think it's tenable to expect anyone to keep a separate version 
of LilyPond for each unique \version called for by all the scores in 
their library. In the current system, that would be the only way to 
guarantee correct and consistent output.


I'd hesitate to call the LilyPond version system "lazy", as backward 
compatibility can be complex especially with subjective fuzzy output 
correctness, but pretty much every other programming language or 
application file format manages to deal with it. When they reach a 
breaking point after a decade (maybe something like going from Guile 1.8 
to 2.2), they increment the major version number and only then do users 
have to maintain multiple versions or modernize a lot of code (e.g. 
Python 2.7 to 3).


It's just fortunate that LilyPond is sufficiently backward compatible 
for basic code that version problems don't often crop up. convert-ly 
will be there if something actually goes wrong, but this remains an 
annoyance for people concerned with precision.


On 7/1/2023 12:09 PM, Jean Abou Samra wrote:

Le samedi 01 juillet 2023 à 11:30 -0700, Curt McDowell a écrit :

I tend not to use convert-ly because I feel upgrading a file version
would unfairly force anyone who wants to compile my music to upgrade
their LilyPond installation. Upgrading might not be straightforward when
using a standard distro, and I'd hate for someone to risk destabilizing
their working environment on my account.


lilypond.org distributes static self-contained binaries of LilyPond 
that can just be unpacked in whatever directory and run from there 
without being installed in some way, so the risk of destabilizing the 
environment is exactly zero.

Re: How to submit a feature request (issue)

[Curt McDowell]

I tend not to use convert-ly because I feel upgrading a file version 
would unfairly force anyone who wants to compile my music to upgrade 
their LilyPond installation. Upgrading might not be straightforward when 
using a standard distro, and I'd hate for someone to risk destabilizing 
their working environment on my account. Using convert-ly would only 
serve as a barrier to compiling my files, most of which are still on 
2.18 and compile with 2.22 (I can't think of a case where something broke).


Regards,
Curt

On 6/30/2023 3:36 PM, Stu McKenzie wrote:


I'm not sure how to submit a feature request issue.

I'd like to request the following change to the LilyPond parser:

One feature that would be useful is for the LilyPond parser to output 
the following version numbers:

The LilyPond version, e.g. 2.24.1;
The source file "\version", e.g. 2.22.0.

If one changes the version number to a number greater than the current 
version, the output is:

Parsing...
error: program too old: 2.24.1 (file requires: 2.25.0)

This shows that the parser is checking the versions, so to output the 
version numbers shouldn't require much additional coding.


If the versions are always output, this would serve as confirmation 
that a source file is up to date, and also remind users if convert-ly 
has, or hasn't, been performed on a source file.


Perhaps this could be extended to check versions of any files included 
by the source file (this may be a bit too complicated!).


Would those more familiar with bug and issue reporting guide me as to 
whether or not this is worth pursuing, and if so, how to proceed?

Re: Anybody else playing with GPT4 and Lilypond?

[Curt McDowell]

I use chat.openai.com quite a bit for LilyPond. It almost never gives a 
correct or directly useful answer, but often gives me ideas where I can 
continue with LilyPond docs to figure out a solution. It's definitely 
good at explaining how code fragments work if you paste them in. This is 
a very similar situation to another esoteric language I use, OpenSCAD. 
These languages don't benefit from anywhere near the amount of training 
data that's available for languages like C++ and Python. That should 
improve over time, but for now it's a crap-shoot.


Incidentally, I found Bing (supposedly based on GPT-4) is much worse 
than chat.openai.com, despite its ability to look up info on the web, 
and often just says it can't find anything.


Regards,
Curt

On 3/29/2023 3:43 PM, Saul Tobin wrote:
I've seen some examples of other people succeeding in getting ChatGPT 
with GPT4 to compose simple music in other text based music formats. 
I've had limited success getting it to output Lilypond code. It is 
able to correctly structure the code with a score block, nested 
contexts, and appropriately named variables, and bar checks at the end 
of each measure. It seems to struggle to create rhythms that fit 
within the time signature beyond extremely simple cases. It also seems 
to struggle a lot to understand what octave pitches will be in when 
using relative mode.


It also seems to have a lot of trouble keeping track of the 
relationship between notes entered in different simultaneous 
expressions. Just asking it to repeat back which notes appear in each 
voice on each beat, GPT4 frequently gives stubbornly incorrect answers 
about the music it generated. This makes it very difficult to improve 
its output by giving feedback.


I'm curious whether anybody else has tried playing with this. I have 
to imagine that GPT4 has the potential to produce higher quality 
Lilypond output, given some of the other impressive things it can do. 
Perhaps it needs to be provided with a large volume of musical 
repertoire in Lilypond format.

Re: UTF-8 characters in filenames with Lilypond 2.23

[Curt McDowell]

I get that same error if running under Docker, if LANG is set to 
en_US.UTF-8, but where en_US.UTF-8 does not exist in the output of 
"locale -a".


   ./out/bin/lilypond scheme-sandbox /(Lilypond 2.23.0, Guile 2.2.7,
   Ubuntu 20.04)/
   (open-input-file "tést.ly")
   In procedure open-file: No such file or directory: "t??st.ly"

Changing LANG makes Guile happy

   export LANG=C.UTF-8
   ./out/bin/lilypond scheme-sandbox
   (open-input-file "tést.ly")
   $1 = #

but strangely it still does not make Lilypond happy

   ./out/bin/lilypond tést.ly
   warning: cannot find file: `t??st.ly'

I don't know why.

Lilypond 2.20.0 works in the same environment and seems insensitive to LANG.

-Curt

On 5/21/2022 10:36 PM, David F. wrote:

No, I get the same error running lilypond from the command line:
$ lilypond --png tést.ly
GNU LilyPond 2.23.9 (running Guile 2.2)
warning: cannot find file: `t??st.ly'
fatal error: failed files: "t??st.ly”

David F.

Edit scheme files with Frescobaldi

[Curt McDowell]

Hi all,

Some of my projects #(load "external_scheme_files"). For example, if 
song.ly contains


   \version "2.20.0"
   \include "articulate.ly"
   #(load "swing.scm")
   \header {
   ...

then if I open song.ly in Frescobaldi and use Engrave (preview), it 
doesn't find swing.scm (doesn't know to copy it to the tempdir?) And if 
I Open swing.scm in Frescobaldi, it tries to compile that as a .ly format.


Is there a way to open .scm files in Frescobaldi alongside the .ly 
files, be able to edit them all and engrave/publish on demand (maybe 
using a session)? I haven't found how in the docs.


Thanks!
Curt

Re: Typesetting output on one long line

[Curt McDowell]

Amy,

Recently I made a single-line scrolling video using LilyPond. Take a 
look at this monster... nobody else has yet :)


    https://www.youtube.com/watch?v=I0qevLvmvCw

I had LilyPond output the whole thing as a single .png image. The image 
is so wide (60635 x 1082) that it immediately crashes utilities like 
ImageMagick. However, Gimp works on it.


I used this in the the .ly file:

  \paper {
    line-width = 600\in
    left-margin = 0.25\in
    right-margin = 0.25\in
    check-consistency = ##f
    page-count = 1
    indent = #0
    ragged-last-bottom = ##f
    ragged-right = ##f
    ragged-last = ##f
  }

  \header {
    tagline = ##f
  }

  #(set-global-staff-size 69)

and used the command:

lilypond -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts 
-dpixmap-format=pngalpha --png Merry_Go.ly


Then I had a Python script to extract a sliding window of sub-images 
from the png and add background, used ffmpeg and other tools -- one 
filthy hack after another.


It looks like I maybe should have used 60Hz framerate instead of 30Hz.

Regards,
Curt

On 1/26/2021 8:56 AM, Amelie Protscher wrote:

Dear list members,

although I'm a veteran user since 1.6.6, I've just come across a problem
that I can't solve on my own and I can't believe it hasn't been
implemented yet. I'm trying to get Lilypond to output the music (just a
regular piano piece) on one long line, i.e. as if on an endless long
paper strip. The reason is that I'd like to let the notes scroll along
on a video screen while the music is being played so the viewer's eyes
can always stay in the middle of the screen.

Do you know what I mean? And does anybody know how to do it?

Kind regards,

Amy

Re: Outputting to stdout

[Curt McDowell]

Another way to hack it on Linux:

   ln -s /dev/stdout my_file.png
   lilypond --png my_file.ly | my_program
   rm my_file.png

Regards,
Curt

On 8/21/2020 4:02 PM, David Wright wrote:

On Fri 21 Aug 2020 at 22:00:54 (+0200), Krystian Chachuła wrote:

Is there a way of making lilypond output the generated png to stdout?
My intention is to animate a score in a Python script.

The shortest way is illustrated at
https://lists.gnu.org/archive/html/lilypond-user/2020-05/msg00368.html
but I haven't tested it. My own method, which uses a named pipe, is
further up the thread, but as it splits across the months, here's the link:
https://lists.gnu.org/archive/html/lilypond-user/2020-04/msg00500.html

Obviously substitute PNG for SVG.

Cheers,
David.

Re: Lilypond svg output to stdout?

[Curt McDowell]

A way to output to stdout directly (on Linux):

   $ ln -s /dev/stdout foo.svg
   $ lilypond -dbackend=svg -o foo music.ly

Regards,
Curt

On 5/5/2020 2:42 PM, David Wright wrote:

On Sun 03 May 2020 at 12:22:31 (+0200), Valentin Villenave wrote:

On 4/30/20, David Wright  wrote:

On Thu 30 Apr 2020 at 21:58:28 (+0200), Marcel Aartsen wrote:
I don't think you can use stdout itself, as LP already uses it.

Well, there *used* to be some work towards something like that; see
the framework-socket.scm file in LilyPond’s source code…


I haven't tested whether LP *insists* on adding an .svg extension.

It does, but that can be overriden:
https://lists.gnu.org/archive/html/lilypond-user/2019-12/msg00414.html

Probably hardly worth the effort in this case (and when using files,
it's easy enough to rename them).

BTW I tested my example just by catting the pipe (to let LP run to
completion) and piping the output into less as the consumer (to save
it spewing onto the terminal).

I ought to make it clear that it was intended for the SVG-consumer
to normally be a program, like inkscape. So summarising:

   $ mkfifo foo.svg
   $ lilypond -dbackend=svg -o foo music.ly

   $ inkscape foo.svg

on two terminals, or

   $ mkfifo foo.svg
   $ lilypond -dbackend=svg -o foo music.ly &
   $ inkscape foo.svg

on one.

Sometime, perhaps, I'll try it on two machines, using a socket.

Cheers,
David.

Re: Remote Ensemble Playing

[Curt McDowell]

On 3/31/2020 11:51 PM, Gianmaria Lari wrote:
Does anyone have any idea how these people is able to do things like 
these?


https://youtu.be/Sj4pE_bgRQI
https://youtu.be/3eXT60rbBVk

There was an article in USA Today 
<https://www.usatoday.com/story/entertainment/music/2020/04/02/coronavirus-french-national-orchestra-performs-home-during-lockdown/5111830002/>about 
the Ravel. It was done by:


- Creating a short arrangement (4 minutes)
- Sending to each of 50 musicians a score and a full soundtrack 
including metronome clicks. LilyPond would be great for extracting parts.

- Giving them 4 days to record footage
- Editing the audio and video at length, and cheating by mixing in 
tracks from a previous performance by the same orchestra


In the past I tried to record both parts of a fast duet on a Casio 
keyboard. It would play back a track while allowing you to overlay it 
with another. The results were horrifying, even with no latency issues, 
and gave me an appreciation of how difficult synchronization is. (I had 
typeset the duet in LilyPond 
<https://www.fishlet.com/2018/10/07/merry-go-duet/>, maybe you have 
heard the world's most annoying music 
<https://www.youtube.com/watch?v=e1V4iUQWtDU> :)


-Curt

Re: Titles italic format ignored

[Curt McDowell]

Overriding font-name also overrides the font slant and weight in a 
sticky way. Perhaps LilyPond ought to have a font-face property. The 
slant and weight can be specified along with the font name:


  subtitle = \markup \raise #1.0 \fontsize #-3 \override #'(font-name . 
"Arial Italic") "A Medley for Orchestra"


or

  subtitle = \markup \raise #1.0 \fontsize #-3 \override #'(font-name . 
"Arial Black Italic") "A Medley for Orchestra"


Regards,
Curt McDowell

LilyJazz 2.0

[Curt]

Hi everyone!

About two weeks ago I was struggling to figure out how to get lilyjazz 
installed. Due to the recent changes with lilypond’s fonts, many of the 
instructions online were out of date, and the downloadable versions of the font 
were out of date and had incomplete instructions. 

Abraham was nice enough to give me the most up-to-date version, and 
instructions. As a result of that, I’ve issued a “pull request” to the git 
repository that had the previous version of the font. The PR is basically the 
contents of what Abraham sent me - the updated fonts, documentation, up-to-date 
stylesheets, and examples. Abraham has also looked over the PR and approved its 
accuracy.

https://github.com/OpenLilyPondFonts/lilyjazz/pull/2

If this can be approved by the maintainer of OpenLilyPondFonts (Steve Lacy?), 
then we will have a publicly available latest version of LilyJazz.

With this release, I am also hopeful we can update the other parts of the 
website that have out of date information:

http://lilypondblog.org/2013/09/lilypond-and-lilyjazz/
http://lilypondblog.org/2014/09/lilyponds-look-and-feel/

In addition, the lyp-packages (Sharon?) lilyjazz package could be updated to 
use the newer font files:
https://github.com/lyp-packages/lilyjazz

Finally, I could have sworn that I saw references to defunct previous website 
of the font, perhaps to fonts.openlilylib.org, on the lilypond official 
documentation, perhaps the changelog… but I cannot seem to find it now, so 
maybe that has been fixed already.

Thanks!
Curt


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Re: lilyjazz

[Curt]

Thanks. Yes, I’ll install 2.19.65. I believe it’s the lilyjazz.ly 
<http://lilyjazz.ly/> and jazzchords.ly <http://jazzchords.ly/> files (not sure 
if anything else is needed?) that are still required. Does anyone have copies 
of those? 

I could update my copies of the old ones with the new filenames of the *.otf 
files (for instance, I think jazzchords.ly <http://jazzchords.ly/> needs to be 
updated in one place to point to lilyjazz-chord), but I’m not sure if there 
were other changes made in the updated version of those files.

Thanks,
Curt

> On Oct 10, 2017, at 12:40 AM, Malte Meyn  <mailto:lilyp...@maltemeyn.de>> wrote:
> 
> 
> 
> Am 10.10.2017 um 02:14 schrieb Curt:
>> Can someone tell me what I need to do? Also, is there some up to date 
>> lilyjazz installation article that I’ve missed?  I googled a bunch and there 
>> are out of date articles, and other articles redirecting us to “superseding” 
>> articles that don’t actually have information.
> 
> The way notation fonts are included in LilyPond has changed in the 
> development version 2.19.12. The “OpenLilyPondFonts” are meant to be used 
> with a later version or with a patched 2.18.2, not with \jazzOn afaik.
> 
> When these fonts were distributed via fonts.openlilylib.org 
> <http://fonts.openlilylib.org/> there was an installation tutorial on that 
> site. This information is also part of the Documentation of the upcoming 
> 2.20.0 release.
> 
> I would suggest to either wait some weeks (hopefully not long anymore) for 
> that release, or—if you’re ok with installing “unstable” releases—install the 
> latest version 2.19.65 and ask here for the header files for LilyJAZZ in that 
> version (why aren’t these files found at the font repo?).
> 
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lilyjazz

[Curt]

Hi, I’m stumped on how to install lilyjazz on my Mac.

I cloned https://github.com/OpenLilyPondFonts/lilyjazz and installed the fonts 
from otf/ and supplementary-fonts/ into FontBook. So now in FontBook, I have 
the 8 “numbered” lilyjazz fonts, lilyjazz-brace, lilyjazz-chord, and 
lilyjazz-text. I didn’t do anything with the stuff in the svg/ directory, not 
sure what those are for.

I couldn’t find lilyjazz.ily or jazzchords.ily anywhere, so I installed lyp and 
installed the lilyjazz package from there.

Then, I just copied lilyjazz.ly and jazzchords.ly into a “sample” directory of 
mine. In the same directory, I created this common lilyjazz example:

\version “2.18.2"
\include “lilyjazz.ly"

\score { 
\new Staff {
\jazzOn
c'4 c' \tuplet 3/2 { d'8-- es'-- e'-- } g'4 ~ |
g'4 r r8 f'-^ \noBeam es' c'-> \bar "|."
}
}

And when I render, I’m getting two bars but where every note is actually a left 
bracket of various heights, rather than the hand-drawn look I expect.

I also was unable to render the AllOfMe example, but I’m suspecting it might 
require 2.19 (I’m on 2.18.2)

Can someone tell me what I need to do? Also, is there some up to date lilyjazz 
installation article that I’ve missed?  I googled a bunch and there are out of 
date articles, and other articles redirecting us to “superseding” articles that 
don’t actually have information.



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Re: survey on multiple development versions

[Curt]

I wonder if this is coming across more confusing than it has to be.  You're 
talking about branching a "feature branch" from the mainline (probably the 
development branch: 2.17.24, 2.17.25, etc)  and merging from it (as the 
mainline changes), while the feature branch is improved, until the feature 
branch is stable enough to merge it back into the mainline.

If the feature branch isn't yet stable enough to make a big release like 2.18, 
then no problem, keep it separate and continue to merge from the mainline until 
it's ready, and then merge it back to the mainline.

If new changes are made to the mainline that are inherently incompatible with 
the feature branch, then switch approaches by considering the feature branch as 
a temporary fork.  Instead of merging from the mainline, instead merge from the 
various smaller feature branches that are also merged into the mainline, that 
aren't incompatible with the feature branch.  In other words, if someone wants 
to make a change to the mainline, they do it in their own branch - and then 
when it comes time to contribute it back to the mainline, the fork branch 
accepts it as well.  If there isn't a way to set up this process easily, you 
could probably do this alternatively by doing selective merges from the 
mainline into the feature branch.

>From the perspective of the mainline, it doesn't care because it's not being 
>negatively affected, and it doesn't limit its release schedule.  It doesn't 
>care what is being pulled from it, it only cares what is being pushed to it.  
>From the perspective of the fork branch, it has the time to get stable before 
>it gets re-integrated back into the mainline.

>From the perspective of the user, it isn't as complicated as them having A B 
>and C all seeming equally valid and confusing.  There's the release (2.18, 
>2.19, etc), the development line, and if they want one of these experimental 
>branches they have to use one of the forked releases - I would expect that 
>these types of users would be pretty savvy about keeping track of the 
>differences, and perhaps able to build binaries themselves.

Curt

On Dec 10, 2013, at 5:23 AM, Mike Solomon  wrote:

> Hey all,
> 
> I recently e-mailed the development list about multiple concurrent 
> development versions and I’d like to ask users, especially those currently 
> using the development version, to take the time to respond to a question 
> regarding the proposal.
> 
> If lilypond.org were to propose multiple development versions (say 5 instead 
> of 1), each offering a different set of experimental features (including the 
> canonical development version), and if lilypond.org offered information on 
> which versions were in need of testing by what types of users, would you be 
> interested in helping out by doing some typesetting with these alternative 
> versions?
> 
> Cheers,
> MS
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Re: Problems with LilyJAZZ.ily

[Curt]

In his initial announcement, he wrote, "At any rate, the whole LilyJAZZ issue 
shall be open and free (just like Lilypond)..."

Is that not enough?

http://lists.gnu.org/archive/html/lilypond-user/2013-03/msg00647.html

Curt

On Dec 8, 2013, at 5:05 AM, Federico Bruni  wrote:

> 2013/11/25 Urs Liska 
> I have to add that some opinions were raised that we can't simply put 
> something in such a library that was 'published' on lilypond-user without 
> asking back with the author - who seems to be unreachable for LilyJAZZ.
> 
> in the archives I've found his web.de address
> I sent him an email but I received this error message:
> 
> 552-Requested mail action aborted: exceeded storage allocation
> 
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Re: Other programming languages & LilyPond

[Curt]

On Dec 2, 2013, at 3:07 PM, SoundsFromSound  wrote:

> Urs Liska wrote
>> Am 02.12.2013 23:34, schrieb Curt:
>>> I've written perl scripts that generate lilypond snippets to include in
>>> Anki decks for self-study of jazz theory.  There's all kinds of crazy
>>> programming people can do with Lilypond.
>>> 
>>> Curt
>> 
>> How are Anki decks/cards stored, can they be somehow be edited in a 
>> collaborative effort?
>> I think this could also be a nice addition to the Learning Manual (or 
>> independently).
>> 
>> Urs
>> 
> 
> Curt,
> I'm also interested in hearing more about Anki and your scripts!

Sure - 

Usually what I do is I write a perl script to run through several combinations 
of music theory concepts.  The script then generates the tiny lilypond 
snippet for that concept.  It will then open a more general lilypond template,
and substitute that snippet in to the appropriate place.  The lilypond is then
rendered to a small pdf file.  I also have other utilities to generate other
assets, like a small midi2mp3 script.

Through a combination of more scripts and shell commands, the assets
are bundled together with a CSV file (a row for each combination) that 
points to the appropriate media.

Collaboratively creating lilypond anki decks could be clunky.  You'd probably
be collaboratively editing the generating scripts themselves, and then be
building the decks from that, and then reimporting on top of your already
existing deck, which could be problematic.

So far I've created decks for:

- Guitar Fretboard training: the "question" draws a fretboard
with a circle and a question mark at the relevant note
position, the "answer" replaces the question mark with 
the note name and plays the pitch.  I want to expand
it to include accidentals.
- Jazz Closed Position Comping: this has questions like
"where is the appropriate place to play dm7b5?" and
then shows the notation and plays the chord (first 
inversion surrounding middle-C).  Closed root 
position only, so it's not very useful.  I'm hoping to 
write more decks for more useful comping styles.
- Jazz Astronomy, Major: this has questions like what 
is the best scale to play against F7 in A major?
Answer: it's a flat-2 of V, so play C melodic minor
starting on F.  Several styles of cards that play pitches
and scales and show notation and chord symbols.
This deck has over 2500 cards, and I want to supplement 
it with minor keys.

I've had multiple requests to make the decks available, and it
really is on my list - I just need to clean some things up first.  :)

Curt




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Re: Other programming languages & LilyPond

[Curt]

On Dec 2, 2013, at 2:11 PM, PMA  wrote:

> Urs Liska wrote:
>> Answer him that
>> ...
>> As LP input files are plain you can use _any_ programming
>> language to modify ... or even generate LilyPond input files.
> 
> This is a nod to Urs's word "_any_".  All my scores are made via LP.
> But each LP input file is made by a program I've written either in J
> (descendant superset of APL) or in good old BASH -- roughly as
> far apart as programming languages get.
> 

Ha - I'd love to hear more about this.  What kind of work are you doing
that involves using J in this manner?

I've written perl scripts that generate lilypond snippets to include in 
Anki decks for self-study of jazz theory.  There's all kinds of crazy
programming people can do with Lilypond.

Curt


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RE: Change page number during score

[Curt McDowell]

Here's an example that numbers pages with prime numbers. ;-)

 

Ok, that was just for fun. Here's also a version that skips a specific list of 
page numbers.

 

(IMHO, it would still be better to figure out how to embed your graphic pages 
within Lilypond using eps!)

 

-Curt

 

From: lilypond-user-bounces+lilypond=fishlet@gnu.org 
[mailto:lilypond-user-bounces+lilypond=fishlet@gnu.org] On Behalf Of David 
Nalesnik
Sent: Saturday, October 26, 2013 1:14 PM
To: Hwaen Ch'uqi
Cc: EdBeesley; lilypond-user; Trevor Daniels
Subject: Re: Change page number during score

 

Hi,

 

>
> You're right, there's no way to set the page number, AFAIK :(

 

Well, no simple way.  It is possible to write a markup function to increment 
the page numbers at a certain point.

 

I retooled a function which does Roman numeral page numbers here: 
http://www.mail-archive.com/lilypond-user@gnu.org/msg73483.html

 

The function below takes a range of "skipped pages."  So, the example "skips" 
page numbers 2 through 5.  Thus, the score will be numbered 1, 6, 7...

 

Hope this helps,

David

 

%

 \version "2.17.29" % should work with 2.16 too

 

#(define-markup-command (skip-page-number-range layout props arg) (number-list?)

  (let ((page-number (chain-assoc-get 'page:page-number props -1)))

(interpret-markup layout props

  (if (>= page-number (car arg))

  (number->string (+ page-number (1+ (- (cadr arg) (car arg)

  (chain-assoc-get 'page:page-number-string props -1)

 

 

\paper {

  print-first-page-number = ##t

  print-page-number = ##t

  oddHeaderMarkup = \markup

\fill-line {

  " "

  \on-the-fly #not-first-page \fromproperty #'header:instrument

  \on-the-fly #print-page-number-check-first \skip-page-number-range #'(2 5)

}

  evenHeaderMarkup = \markup

\fill-line {

  \on-the-fly #print-page-number-check-first \skip-page-number-range #'(2 5)

  \on-the-fly #not-first-page \fromproperty #'header:instrument

  " "

  }

}

 

\score {

  \new Staff {

\repeat unfold 6 {

  s1

  \pageBreak

}

  }

}

% Example to use prime numbers for page numbers

\version "2.13.51"

#(define (is-prime x k)
  (if (= x k) #t
   (if (= (remainder x k) 0) #f
(is-prime x (+ k 1)

#(define (nth-prime n next)
  (if (= n 1) next
   (if (is-prime (+ 1 next) 2)
(nth-prime (- n 1) (+ 1 next))
(nth-prime n (+ 1 next)



#(define-markup-command (page-number-compute layout props) ()
  (let ((page-number (chain-assoc-get 'page:page-number props 0)))
(interpret-markup layout props (format "~a" (nth-prime page-number 2)

\header {
	title = "Mary Had a Little Lamb"
}

\paper {
	print-first-page-number = ##t
	oddHeaderMarkup = \markup {
	  \fill-line {
	\larger \on-the-fly
		#print-page-number-check-first \page-number-compute
	\null
	\null
	  }
	}
	evenHeaderMarkup = \markup {
	  \fill-line {
	\null
	\null
	\larger \on-the-fly
		#print-page-number-check-first \page-number-compute
	  }
	}
}

rh = \relative c' {
	e8 d c d e e e4 \pageBreak
	d8 d d4 e8 g g4  \pageBreak
	e8 d c d e e e e \pageBreak
	d d e d c2 \pageBreak
}

lh = \relative c {
	c8  g,  c  g, 
	b  g,  c  g, 
	c  g,  c  g, 
	b  g,  c  c4
}

\score {
  \new PianoStaff <<
\new Staff {
  \time 2/4 \key c \major \clef treble
  \rh \transpose c d \rh \key bes \major \transpose c bes \rh \bar "|."
}
\new Staff {
  \clef bass
  \lh \transpose c d \lh \key bes \major \transpose c bes \lh \bar "|."
}
  >>
  \layout { }
}
\version "2.13.51"

#(define page-number-skip-list '(3 4 7 14))



#(define (pages-less skip-list page offset)
  (if (null? skip-list) offset
   (pages-less (cdr skip-list) page
(+ offset (if (<= (car skip-list) (+ page offset)) 1 0)

#(define-markup-command (page-number-compute layout props) ()
  (let ((page-number (chain-assoc-get 'page:page-number props 0)))
(interpret-markup layout props
 (format "~a"
  (+ page-number (pages-less page-number-skip-list page-number 0))

\header {
  title = "Mary Had a Little Lamb"
}

\paper {
  print-first-page-number = ##t
  oddHeaderMarkup = \markup
\fill-line {
  \null
  \on-the-fly #not-part-first-page \fromproperty #'header:instrument
  \on-the-fly #print-page-number-check-first \page-number-compute
}
  evenHeaderMarkup = \markup
\fill-line {
  \on-the-fly #print-page-number-check-first \page-number-compute
  \on-the-fly #not-part-first-page \fromproperty #'header:instrument
  \null
}
}

rh = \relative c' {
  e8 d c d e e e4 \pageBreak
  d8 d d4 e8 g g4  \pageBreak
  e8 d c d e e e e \pageBreak
  d d e d c2 \pageBreak
}

Re: Problem with LilyJAZZ.ily

[Curt]

Is it considered "bad behavior" to open up a github repository with Thorsten's 
contribution, and then apply the patches to it, for that to be considered the 
source of truth?


On Oct 8, 2013, at 12:33 AM, Marc Hohl  wrote:

> Am 08.10.2013 06:23, schrieb Keith OHara:
>> Thomas Morley  gmail.com> writes:
>> 
>>> 2013/10/8 Steve Noland  thenolands.us>:
 Dear all,
 
 On a Mac, when trying to compile the jazz-test-3.ly file, I get the
 following error from Lilypond re: the LilyJAZZ.ily file:
>> 
>>> Try replacing #(define (jazz-keysig grob) ...) with Keith's suggestion:
>>> http://lilypond.1069038.n5.nabble.com/Pseudo-handwritten-font-tt142117.html#a147230
>>> 
>> 
>> Steve, could you put a link to that fix near wherever you found LilyJAZZ.ily 
>> ?
>> 
>> The history is, I extended the key-signature print function last August, for
>> development version 2.17.1 and eventually stable 2.18.  Meanwhile Thorsten 
>> was
>> probably working on LilyJAZZ, and had to depend on some undocumented 
>> internals
>> of the old key-signature print function.  In March he posted the version that
>> works with stable LilyPond 2.16.
>> 
>> Probably Thorsten, or any of us, will update his .ily file for version 2.18 
>> when
>> that comes out.
> 
> AFAIK Torsten has not answered any mail request since the beginning of
> August. I hope that this is does not imply any serious incidents ...
> 
> But some more or less "official", easy to be found location with the
> possibility to download (and update) code would be fine.
> 
> Would it be an option to include the file and the fonts similarly to the
> articulate script?
> 
> Marc
> 
> 
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Re: Anki and LilyPond

[Curt]

Sort of.  I can see two possibilities:

1) You can collaboratively work on software that will dynamically generate a 
deck based off of combinations of various snippets and elements.  So you'd be 
writing a program, rather than the cards itself.

2) A deck can be imported from a comma-delimited list, and I think you can 
export to that, too.  So, someone could import, add some cards, export, and 
commit the diffs.  I think.

Curt

On Oct 2, 2013, at 12:36 AM, Urs Liska  wrote:

> Is there the notion of collaboratively working on a deck?
> I see that they are stored as SQLite files, so we can't simply put it in a 
> Git repository.
> (You see, I'm still completely new to Anki)
> 
> Urs
> 
> Am 02.10.2013 09:32, schrieb Curt:
>> I've made a few decks using perl scripting.  One for guitar fretboard note 
>> identification, and two for jazz theory.  But not for actual lilypond 
>> concepts/syntax - I can see how that would be useful.
>> 
>> 
>> On Sep 13, 2013, at 6:52 AM, Urs Liska  wrote:
>> 
>>> Hi list,
>>> 
>>> I'm curious if anybody has some experience using Anki in conjunction with 
>>> LilyPond.
>>> I've just discovered Anki and ponder over how useful it could be for me.
>>> 
>>> As I've seen this LilyPond add-on: 
>>> https://github.com/frostschutz/Anki-LilyPond
>>> I thought this could be terrific for creating musical teaching material.
>>> And I thought whether this could be made useful for tutorial material about 
>>> LilyPond itself (maybe a shared deck of Anki cards accompanying the 
>>> Learning Manual).
>>> 
>>> Any ideas?
>>> Urs
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>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>> 
>> 
>> 
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Re: Anki and LilyPond

[Curt]

I've made a few decks using perl scripting.  One for guitar fretboard note 
identification, and two for jazz theory.  But not for actual lilypond 
concepts/syntax - I can see how that would be useful.


On Sep 13, 2013, at 6:52 AM, Urs Liska  wrote:

> Hi list,
> 
> I'm curious if anybody has some experience using Anki in conjunction with 
> LilyPond.
> I've just discovered Anki and ponder over how useful it could be for me.
> 
> As I've seen this LilyPond add-on: 
> https://github.com/frostschutz/Anki-LilyPond
> I thought this could be terrific for creating musical teaching material.
> And I thought whether this could be made useful for tutorial material about 
> LilyPond itself (maybe a shared deck of Anki cards accompanying the Learning 
> Manual).
> 
> Any ideas?
> Urs
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RE: \path command

[Curt McDowell]

Martin, you're absolutely right, I should have included an attachment. Sorry
for the time wastage.

Ming, try this version. It's just an idea. You might need to tweak relative
positions and/or make the PostScript more elaborate to draw what you want.

Cheers,
Curt

\version "2.13.51"

\header {
title = "Mary Had a Little Lamb"
subtitle = \markup {
  "whose fish"
  \hspace #2
  \note #"8" #1
  \postscript #"0.5 setlinewidth 5 -1 moveto -15 8 -10 -7 -0.5 3
rcurveto stroke"
  \hspace #5
  "was white as snow"
}
}

rh = \relative c' {
\time 2/4 \key c \major \clef treble
e8 d c d e e e4
d8 d d4 e8 g g4
e8 d c d e e e e
d d e d c2
\bar "|."
}

lh = \relative c {
\clef bass
c8  g,  c  g, 
b  g,  c  g, 
c  g,  c  g, 
b  g,  c  c4
}

\score {
  \new PianoStaff <<
\new Staff { \rh }
\new Staff { \lh }
  >>
  \layout { }
}

-Original Message-
From: Martin Tarenskeen [mailto:m.tarensk...@zonnet.nl] 
Sent: Friday, September 27, 2013 12:47 AM
To: Curt McDowell
Cc: 'MING TSANG'; lilypond-user mailinglist
Subject: RE: \path command



On Thu, 26 Sep 2013, Curt McDowell wrote:

> Here's something like that, but using \postscript instead of \path. I
can't get \path at the right origin. It seems to ignore an initial "moveto".
> Even \postscript seems to set the origin differently depending on which
note the markup goes on (hence two versions of the markup below).
>  
> 
> Cheers,
> 
> Curt
> 
>  
> 
> \version "2.13.51"
()


Hi,

Thank your for posting your \postscript example. 
But before I was able to view the result I had some trouble copying the
lilypond code to a .ly file from my e-mail client (alpine). In the end I
succeeded and was able to compile the example. But it would have saved me
some trouble if the example was given as an attachment to the original
message.

What is the recommended way to share LilyPond example code here in this
mailinglist?

-- 

MT
\version "2.13.51"

\header {
	title = "Mary Had a Little Lamb"
	subtitle = \markup {
	  "whose fish"
	  \hspace #2
	  \note #"8" #1
	  \postscript #"0.5 setlinewidth 5 -1 moveto -15 8 -10 -7 -0.5 3 rcurveto stroke"
	  \hspace #5
	  "was white as snow"
	}
}

rh = \relative c' {
	\time 2/4 \key c \major \clef treble
	e8 d c d e e e4
	d8 d d4 e8 g g4
	e8 d c d e e e e
	d d e d c2
	\bar "|."
}

lh = \relative c {
	\clef bass
	c8  g,  c  g, 
	b  g,  c  g, 
	c  g,  c  g, 
	b  g,  c  c4
}

\score {
  \new PianoStaff <<
\new Staff { \rh }
\new Staff { \lh }
  >>
  \layout { }
}
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Re: Re[surrecting]: Version Control and Public Repository

[Curt]

This is a common problem in software engineering.  In my day job as a java 
developer we use something called archiva which collects multiple versions of 
the libraries we depend on.  So if projectA (like your score) depends on 
version 1.1 of a library (like your tweaks), while another project depends on a 
different version, then they'll both be available, and the appropriate version 
would just be pulled in.  That tech is specific to java and maven though I 
think.

For a git-only approach, the *classic* way of handling this - and I haven't yet 
tried this myself, so I might not be describing this quite right - is to use 
submodules.  So you would have a separate repository for your tweaks, with tags 
for the different versions you care about.  Then you could pull the submodule 
into your project(s), each pegged at the appropriate version number.  However, 
I think this would require each of your score projects to be in a separate 
repository.

If you keep all your scores in the same repository, and each score project 
depends on a different version of your tweaks file, then I can't immediately 
see a way to do what you want - you'd probably be stuck with having copies of 
your tweaks library, with different version numbers in the file names.

Curt

On Sep 27, 2013, at 2:11 AM, Alexander Kobel  wrote:

> Dear all,
> 
> long time ago there was this thread about version controlling Lily scores, 
> and much more recently Urs' excellent essay and tutorial on the LilyPond blog 
> [1].
> 
> Now, that surely is a great read, but I'm left with one question. Over time, 
> I've collected a few scores, made with different LilyPond versions, which I 
> want to put into a VCS repo now and clean up a bit. At some (early) point 
> though, I started to use include files for common tweaks and shortcuts.
> So I used, say, my-tweaks-0.1.ly for scoreA, and an extended version 
> my-tweaks-0.2.ly later for scoreB. Now I recognize that it feels wrong to 
> maintain my-tweaks-* in different files, because it really is a development 
> from 0.1; also, it means copy-pasting to a new file whenever a nice add-on 
> should be available for new scores. "Where's my most recent house style?"
> On the other hand, some tweaks introduced in newer versions of the include do 
> not work well together with local tweaks of scoreA; hence, I want to at least 
> refer to which version of my-tweaks-?.ly I used there last time I touched the 
> piece. (E.g., I have scores which predate Joe's tremendous improvements to 
> vertical spacing; it's obvious that I have to rewrite all spacing code if I 
> convert them to today's Lily, but I need the old state of tweaks for 
> everything else.)
> 
> I'm pretty sure that's a common problem for repos containing several separate 
> projects, unlike source code for a single library or application which needs 
> to be updated entirely in one shot when dependencies change. So, most 
> probably there's a `proper` way to deal with the problem. But, which? Any 
> suggestions?
> 
> The only possibility I see to keep the different versions (in git) somewhat 
> cleanly separated is to use a house-style branch for the includes, and use 
> one branch per project (a.k.a. score). If necessary, merge the recent 
> modifications from house-style to project. This sounds clean, but also like 
> overkill - after all, I usually write 2-4 pages-scores (max was around 20 
> pages, I think), not operas.
> On the other hand, I preferably don't want to check every time I modify an 
> include whether the change has negative impact on any of my score, but I also 
> don't want to be stuck with some broken old project for a little 
> modification. (Like, extract choir parts from the piano reduction--which 
> typically happens ~1 hour before the rehearsal...)
> 
> 
> Thanks in advance,
> Alexander
> 
> 
> [1] http://lilypondblog.org/2013/09/write-lilypond-code-for-version-control/
> 
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RE: \path command

[Curt McDowell]

Here's something like that, but using \postscript instead of \path. I can't
get \path at the right origin. It seems to ignore an initial "moveto". Even
\postscript seems to set the origin differently depending on which note the
markup goes on (hence two versions of the markup below).

 

Cheers,

Curt

 

\version "2.13.51"

 

\header {

title = "Mary Had a Little Lamb"

}

 

fishA = \markup {

  \postscript #"0.5 setlinewidth 5 0 moveto -7 6 -10 -7 -0.5 3 rcurveto
stroke"

}

 

fishB = \markup {

  \postscript #"0.5 setlinewidth 5 -1 moveto -7 6 -10 -7 -0.5 3 rcurveto
stroke"

}

 

rh = \relative c' {

\time 2/4 \key c \major \clef treble

e8 d c-\fishB d e e e4

d8 d d4 e8 g g4

e8 d c d e e e e-\fishA

d d e d c2

\bar "|."

}

 

lh = \relative c {

\clef bass

c8  g,  c  g, 

b  g,  c  g, 

c  g,-\fishA  c  g, 

b  g,  c  c4

}

 

\score {

  \new PianoStaff <<

\new Staff { \rh }

\new Staff { \lh }

  >>

  \layout { }

}

 

From: lilypond-user-bounces+lilypond=fishlet@gnu.org
[mailto:lilypond-user-bounces+lilypond=fishlet@gnu.org] On Behalf Of
MING TSANG
Sent: Tuesday, September 24, 2013 6:49 AM
To: Robin Bannister; David Nalesnik
Cc: lilypond-user@gnu.org
Subject: Re: \path command

 

Robin,  Thank you for clear the undesired background. I do hope I can do
this in \path command.

 

  _  

From: Robin Bannister 
To: MING TSANG ; David Nalesnik
 
Cc: lilypond-user@gnu.org 
Sent: Tuesday, September 24, 2013 9:34:14 AM
Subject: Re: \path command


MING TSANG wrote: 
>  works fine except I have undesired background image 

Here is a black & white version.


Cheers, 
Robin

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RE: lilypond slowdown in CGI web program

[Curt McDowell]

I agree, benchmark just the lilypond invocation and you're likely to find it 
still takes just a second. More likely, in some following step the server CGI 
script writes the HTTP response data but never closes the TCP connection. If 
the script exits, perhaps a child process has been forked that is keeping the 
file descriptor open, or apache needs some clue when it's to be closed. If the 
server never closes the connection, the browser will give up after a timeout 
period, and only then display what it received.

Cheers,
Curt McDowell


-Original Message-
From: lilypond-user-bounces+lilypond=fishlet@gnu.org 
[mailto:lilypond-user-bounces+lilypond=fishlet@gnu.org] On Behalf Of Jan 
Nieuwenhuizen
Sent: Wednesday, September 18, 2013 11:59 PM
To: supp...@jimtisdall.com
Cc: lilypond-user@gnu.org
Subject: Re: lilypond slowdown in CGI web program

Jim Tisdall writes:

> When I call lilypond to compile a score by means of a web page that is 
> using CGI, lilypond takes about 25 seconds to
> *successfully* complete.  From the commandline, same files and flags, 
> under a second; from a similar but non-web program, under a second.

Are you certain that it's lilypond that takes so long?  Have you replaced 
lilypond with a script that does something like

   #! /bin/bash
   date >> /tmp/lily.log
   time ./lilypond.bin "$@" >> /tmp/lily.log 2>&1
   # time echo NOT: ./lilypond.bin "$@" >> /tmp/lily.log 2>&1
   date >> /tmp/lily.log

comment in/out the run lilypond/echo lilypond commands and play with that?

Also, what are you building?  I take it that you have seen

   http://weblily.net
   http://lilybin.com
   http://lilypond.org/schikkers

and

   https://www.mediawiki.org/wiki/Extension:Score
   https://www.mediawiki.org/wiki/Project:Sandbox

Greetings, Jan

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Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  

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film score example

[Curt]

Hi all - 

About a year ago, several of you answered questions of mine about notating a 
film score.  I reached a stopping point with the first cue and learned a bit 
more about git, so I have the first film cue from the score up on github now:

https://github.com/tunesmith/TheForgivingSea

(pdf of score at: 
https://github.com/tunesmith/TheForgivingSea/blob/master/1M2/pdf/1M2.pdf )

The score was originally prepared (in Sibelius) a few years ago, under the 
tutelage of a professional hollywood film composer, Hummie Mann, and was 
performed/recorded by a volunteer orchestra, so it's been through several 
revisions to tighten it up.  This project was to re-notate it in lilypond.  
It's also a simple, short score, so it might be useful for various learning 
purposes.  I'm also more than happy to receive any suggestions or "pull 
requests" on how to improve the score or simplify the lilypond coding.

Appended below is part of one of the README's - the "unexpected difficulties" I 
had with lilypond, as in the areas that didn't seem to work easily right away.  
(Note that I started this re-notation project as a complete lilypond beginner.) 
 A big one here is "giant time signatures", which are common in film scores but 
don't seem to have a graceful solution in lilypond.  Please note that these are 
just the (minor) complaints, and that overall I was *extremely* happy with the 
experience and output.  I did this all in eclipse (elysium) on a 15"  MacBook 
Pro and loved the "coding" experience.

Thanks for all your help, I hope someone finds this useful!

Curt

~^~^~^~^

Unexpectedly hard parts of creating this score (all specific to v2.16):

- General spacing and staff sizes.  I believe Lilypond by default puts 
everything 
too close together for music that is read by instrumentalists, 
particularly
sight-readers.  The spacing commands are easy to use, but difficult to 
find
and look up if you don't already know them.

- I make liberal use of "tagging" for part extraction.  It appears this is the 
best
way to handle minor differences between parts and full scores.

- Hairpins are surprisingly difficult.  Most instruments do not have a natural
decay, so hairpins don't necessarily start or end right at the note
boundaries.  It's necessary to use "fake voices" in these cases.  Even
with this, it didn't support having a decrescendo end at the Fine bar - 
I had to make it end at a note value before the Fine bar.  And
if you have ties over these fake voices, you have to know about
\set tieWaitForNote = ##t

- Header text elements are a bit bearish to configure.  Our instructions were to
put the instrument name in the "upper left" of each part; I ended up 
using
the out of the box "poet" slot, and then later reconfigured all of 
bookTitleMarkup to reposition "instrument" when it became clear I'd 
need 
the "instrument" slot for later pages.  It also could be easier to put 
a 
simple newline in, for longer instrument names.

- The alignment of the flat sign in text markup like "Clarinet in Bb" is 
difficult.
I gave up on this one because the approach to make it look right felt 
too
hard-coded.

- The "\sustainOff" right-alignment looks bad to me.  It should end at the 
barline
or at the rest you stop pedaling; not right afterward.  Pedaling 
usually implies
you pedal for the duration of the note, but not longer.

- It was difficult to figure out how to create a percussion staff where someone
switched from a pitched instrument to a rhythm instrument.  Also, I'm 
not 
quite convinced on the choice for a percussive half note- I've seen 
open-heads
in these situations before, but I found it impossible to override the 
notehead
in \drummode.

- It was extremely hard to specify a subito dynamic right after a hairpin.  This
is a relatively common use-case, but I had to pull in a pretty 
complicated
scheme function, and modify it, to make it work as expected.  This one 
requirement
probably took around six hours.

- Making courtesy/cautionary accidentals show up in just the parts was a more 
verbose process than it needed to be, it seemed.  I wasn't able to do 
this
reliably unless I tagged the entire measure.  The programmer in me 
wanted
to just tag the cautionary accidental alone.

- Fermatas were often misaligned, too close to or colliding with slurs.  Manual
padding was necessary.

- In film scoring, it's common to include the information of the SMPTE timecode
of when a last note in a cue gets cut off, for t

Re: MusicXML project platform

[Curt]

It seems to me that the problem (of exporting lilypond to music-xml) is 
semi-stalled in the stage of identifying dependencies.  I'm an enterprise java 
programmer and we often use dependency graphs to identify task relationships 
and next steps. 

I don't know C or Scheme but I'm tempted to try and at least understand the 
details of everything that needs to be done so it could be organized in terms 
of steps/tasks/stories/whatever, and maybe put some dependency graphs up on the 
wiki - would that be helpful?

I guess I just have a couple of basic questions - 

It sounds like the music-stream is an internal structured representation of the 
music in the input file (generated after the input file is parsed).  It 
contains time-sorted information but not positioning information.

Regarding the strategy of converting the music-stream to musicXML first, and 
then finding other ways to add positioning information later - is that the only 
viable approach for enabling MusicXML export?

Is converting the music-stream to music-xml as a "first step" a true 
prerequisite to adding positioning information to the musicXML export?

If the music-stream does not have sufficient information for musicXML, is it an 
option to improve the music-stream to contain more of that necessary 
positioning information?  Or what about improving the layout logic to maintain 
knowledge of the music-stream so the full xml export could be done at that 
later stage?

If we merely export the pure "music-stream" as a first step, are we coding 
ourselves into a corner?  In other words, is that creating technical debt?  Is 
there an argument that another approach is really the "right way"?

Is it a hard prerequisite to add support for Guile 2.x to lilypond before we 
can enable MusicXML export?

Finally, is this the best venue to discuss this?  I was always assuming that 
people were already discussing this over on lilypond-devel.  Should we move all 
musicXML discussions over there or to a brand new list?

My own sense after reviewing the discussions I've been able to find:

I suspect that focusing on music-stream export first is too "half-a-loaf" and 
would require major rework once we add positioning.  And, that re-parsing the 
input file for positioning information is not as good an option as figuring out 
how to hook export logic into the lilypond positioning logic itself.  It seems 
the right way is to make the positioning logic maintain knowledge of 
music-stream.  And if sticking to the end-of-life version of guile makes this 
development unreasonable, we should first focus on lilypond supporting 
guile-2.x.

All that said, I recognize I lack perspective - thanks for any clarifications.

Thanks,
Curt


On Apr 26, 2013, at 7:46 AM, Urs Liska  wrote:

> Am 26.04.2013 16:39, schrieb Paul Morris:
>> On Apr 26, 2013, at 8:59 AM, Urs Liska  wrote:
>> 
>>> in order not to let this discussion go asleep again, I set up a GitHub 
>>> project
>> Hi Urs,  Good idea.  I added the following which I dug up.  As well as the 
>> link to SXML support in Guile 2.0.
>> -Paul
> Thanks. That's what I intended with the Wiki.
> 
> Urs
> 
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RE: musicxml2ly enhancements

[Curt McDowell]

How about allowing bar numbers as a letter+number, parsed similar to musical 
note+duration:
B78 a,4 ( a4 ) ( b4 ) d4 |
B79 e,4 ( f4 ) ( g4 ) a4 |
Perhaps they could also double as bar checks:
B78 a,4 ( a4 ) ( b4 ) d4
B79 e,4 ( f4 ) ( g4 ) a4
Or alternately, augment the existing bar check to allow an optional value:
a,4 ( a4 ) ( b4 ) d4 |78
e,4 ( f4 ) ( g4 ) a4 |79
Or (to taste):
|78  a,4 ( a4 ) ( b4 ) d4
|79  e,4 ( f4 ) ( g4 ) a4
The actual bar numbers might be ignored initially, but eventually 
- they might be the numbers printed
- bar checks might also verify that bar numbers match across staves, voices, 
\alternatives.

Having already entered some large pieces, I only recently discovered 
Frescobaldi. What a wonderful program. The point-and-click cursor matching 
between source and PDF nearly obviates the need for measure numbers. I wish I'd 
found it sooner!

Cheers,
-Curt

-Original Message-
From: lilypond-user-bounces+lilypond=fishlet@gnu.org 
[mailto:lilypond-user-bounces+lilypond=fishlet@gnu.org] On Behalf Of Urs 
Liska
Sent: Tuesday, April 09, 2013 4:26 AM
To: lilypond-user@gnu.org
Subject: Re: musicxml2ly enhancements

Am 09.04.2013 13:19, schrieb Janek Warchoł:
> 2013/4/9 Werner LEMBERG :
>>> Putting the bar number at the start of the line would require
>>>
>>>%{ 5 %} a,4 ( a4 ) ( b4 ) d4 |
>>>
>>> instead.
>> I like that.  It's tedious to type manually, but a computer program 
>> doesn't know that word :-)
> Indeed, but i find it unreadable, especially if it was placed at every line.
> I think that the best way to mark bar numbers in source is to make a 
> separate-line comment every 5 or so measures:
>
>>  \clef "treble" \key c \major \numericTimeSignature \time 4/4
>>  a4 ( a4) ( b4 ) d4 |
>>  \key c \major a4 ( a4 ) ( b4 ) d4 |
>>  a4 ( a4 ) ( b4 ) d4 |
>>  g1 |
>>  % m.5
>>  a,4 ( a4 ) ( b4 ) d4 |
>>  g1 |
>>  a,4 ( a4 ) ( b4 ) d4 |
>>  g1 |
>>  a,4 ( a4 ) ( b4 ) d4 |
>>  % m.10
>>  g1 |
>>  a,4 ( a4 ) ( b4 ) d4 |
> etc.
> Janek
I have come to the conclusion that it is a _very_ good idea to make a measure 
number for _every_ measure.
That way you have a measure indicator in each Git diff.
Which proves useful to map the change to the location in the file if the line 
numbers have changed considerably in the meantime.

Urs
>
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RE: \relative proposal: putting absolute pitches anywhere within \relative block using @-sign

[Curt McDowell]

> On 13/03/2013 19:24, nothingwaver...@gmail.com wrote:
>> 1. Define absolute octave syntax with the @-sign (let it be a mnemonic
for _A_bsolute)
>> to be the syntax for temporarily specifying an ABSOLUTE PITCH within a
\relative block,
>> such that the next pitch, if it doesn't use the @-sign also, is relative
to the absolute pitch.
>
> Okay, this may be covered by other new facilities, but I remember I had
exactly the problem
> this is intended to solve. I wanted to use a fragment inside a relative
block, but the stuff
> around it messed up the relative octave, so I wanted to be able to specify
an explicit octave
> for the first note of the fragment. (Han-Wen kindly wrote me a little
function, which may have
> become \reset-absolute-octave, I've never used that so I'm not sure about
that.)

Hi,

The precious '@' symbol should be used for some major new functionality
rather than
to patch up one detail case.

The problem you mention seems to be covered by nesting one \relative X { ...
} inside
another. It appears the treatment of X is still absolute when nested.

Regards,
Curt



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Re: Four piano snippets

[Curt]

I just realized one problem with having cross-stave lines everywhere is that it makes crescendos and decrescendos and dynamic markings problematic.  What a tough nut this is.  Going off of several of your suggestions and trying to understand David Kastrup's point about "cross-voice" (David, I'm not sure I followed), here's a revision of the first eight bars.  It's complicated by the fact that sometimes I actually do alter the tremolo pattern when there is a piano note at the same time.  How does this look?On Jan 29, 2013, at 1:19 AM, Urs Liska <li...@ursliska.de> wrote:
  

  
  
Hi Curt,
  
  I would definitely use #2 and #3 alternatingly, depending on the
  context.
  What I like especially about #3 are the alternating stem
  directions, which immediately tell me (as a pianist, not as a
  typographer) your idea. Maybe you could incorporate this in #2
  also, even if it might use somewhat more vertical space? The
  patterns with all-down stems in #1, #2 and #4 _seem_ to suggest
  that the left hand part is considerably lower than the right hand,
  and are therefore somewhat irritating for me.
  
  Best
  Urs
  
  PS: And yes, please leave out (most of) the fingerings. You may
  print the "1 2" at the beginning of the right hand, and you may
  suggest the "3" for the melody. But the rest is really superfluous
  (and therefore disturbing). You can't (and don't have to) tell
  which fingering a pianist might chose for the left hand.
  
  Am 29.01.2013 03:43, schrieb Curt:


  
  Hi, I am very torn about how to notate a piano figure of a simple
  piano prelude I wrote.  Below are four screenshot snippets of the
  figure in question (the entire prelude is made up of such
  figures).  Can someone help recommend the best approach or suggest
  an improvement?  I can forward source for any of them if anyone
  needs it.
  
  
  Thanks, 
  Curt
  
  
  #1 - what I started with, but it just takes up so much space
(four bars in)
  
  
  
  
  
  #2 - treble clef (sample of those four bars in a different
file)
  
  
  
  #3 - bass clef
  
  
  
  #4 - tremolos, with four additional bars
  
  
  
  
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Re: Four piano snippets

[Curt]

I didn't include a tempo marking but I should clarify that the tempo is fast 
enough that the tremolo would probably be too difficult to play with one hand.  
Throughout the piece the emphasis is on the alternating hand pattern with the 
melody in the "right half" of the right hand (You can hear the piece at 
http://curtsiffert.com/anelusivesweetness ) 

I was thinking the fingering would help to communicate that idea, but maybe the 
cross-staving helps to communicate that enough.


On Jan 28, 2013, at 9:04 PM, Shane Brandes  wrote:

> I think option three is the most elegant looking, but I would play the 
> tremolo in the left hand alone with the fingering   in 
> order to free the right for better control. I also agree with David unless 
> there is something peculiarly awkward to get around or some texture you are 
> trying to achieve it is generally best to leave the fingering off. Especially 
> since after a certain point of skill you could navigate passages with 
> different fingerings with equal advantage.
> 
> Shane
> 
> On Mon, Jan 28, 2013 at 11:06 PM, David Nalesnik  
> wrote:
> Hi Curt,
> 
> On Mon, Jan 28, 2013 at 8:43 PM, Curt  wrote:
> Hi, I am very torn about how to notate a piano figure of a simple piano 
> prelude I wrote.  Below are four screenshot snippets of the figure in 
> question (the entire prelude is made up of such figures).  Can someone help 
> recommend the best approach or suggest an improvement?  I can forward source 
> for any of them if anyone needs it.
> 
> 
> 
> 
> #2 - treble clef (sample of those four bars in a different file)
> 
> 
> Of the four, #2 is the version I prefer.  BTW, you don't need to specify 
> fingerings for every note.  The initial "3" is certainly sufficient for the 
> melodic line (and, in any case, the pianist might choose to change fingers on 
> the last E.) 
> 
> 
> #3 - bass clef
> 
> 
> This is perfectly readable too, and might be chosen based on the context.
> 
> HTH,
> David
> 
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Re: preview (-d flag) padding

[Curt]

Thanks, it looks like the minimum-Y-extent is working nicely!  Is there a similar setting for adding horizontal padding?  minimum-X-extent didn't seem to do anything.As for markup, at the bottom of this email (below quoted material) is an example.  (I took out the inlay stuff for brevity.)  I'm trying to figure out how to give it more horizontal padding.  Guitar fretboards are supposed to have that thicker line on the left, but it cuts half of it off so it looks like a normal fret line.  I had to do the fretboard as markup since it's not attached to a staff.  I suppose I could always attach it to an invisible staff if need be but that seemed like overkill.  :-)CurtOn Dec 6, 2012, at 9:06 AM, Eluze  wrote:Curt Siffert wroteIs it at all possible to manually add a few pixels of padding to -dpreview?  I am regularly running into problems with a few pixels of an image beingcut off.  I've reported a bug(https://code.google.com/p/lilypond/issues/detail?id=2968) but since itappears this issue has existed in some form or another for many years now,I don't have high hopes that it will be resolved soon.  So I'm justlooking for a way to work around it manually in the meantime.  Hopefullysomething that will work in a wide variety of snippets - some of my minehave only \markup code (no staves).you can try sth like \override Clef #'[minimum-]Y-extent = #'(-5 . 3.5) for staves.for markups I did not find any problems - can you give an example!?Eluze--View this message in context: http://lilypond.1069038.n5.nabble.com/preview-d-flag-padding-tp137044p137274.htmlSent from the User mailing list archive at Nabble.com.___lilypond-user mailing listlilypond-user@gnu.orghttps://lists.gnu.org/mailman/listinfo/lilypond-user\version "2.16.00"\include "english.ly"\paper{                                                                                                                                        indent=0\cm                                                                                                                                  line-width=120\mm                                                                                                                            oddFooterMarkup=##f                                                                                                                          oddHeaderMarkup=##f                                                                                                                          bookTitleMarkup = ##f                                                                                                                        scoreTitleMarkup = ##f    top-margin=12\mm  left-margin=65\mm                                                                                                                   }  #(set-global-staff-size 40)	diagram = \markup {	\override #'(size . 2.0) {		\override #'(fret-diagram-details . (			(dot-color . black)			(finger-code . in-dot)			(dot-label-font-mag . 0.7)			(orientation . landscape)			(fret-count . 12)			(fret-label-vertical-offset . 3)			(xo-font-magnification . 0.3)		))		{			\fret-diagram-verbose #'((place-fret 4 12 "?" inverted ))		}	}}\markup \scale #'(1.1 . 1.1){	\diagram}        ___
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preview (-d flag) padding

[Curt]

Is it at all possible to manually add a few pixels of padding to -dpreview ?  

I am regularly running into problems with a few pixels of an image being cut 
off.  I've reported a bug 
(https://code.google.com/p/lilypond/issues/detail?id=2968) but since it appears 
this issue has existed in some form or another for many years now, I don't have 
high hopes that it will be resolved soon.  So I'm just looking for a way to 
work around it manually in the meantime.  Hopefully something that will work in 
a wide variety of snippets - some of my mine have only \markup code (no staves).

Thanks!
Curt


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Re: guitar inlays / labels

[Curt]

Wow, Eluze.  Just, wow!

Works great for my purposes.  The inlay doesn't scale if I increase the size of 
the fret diagram itself, but it all scales just fine if I change the global 
staff size - that works even if I don't attach the fret to a staff.  Thanks so 
much!

It's not for any particular students I have - I'm going to make an Anki 
flashcard deck to help people (including me) learn the guitar fretboard in 
general.  First B's and C's, then E's and F's, and then filling in the rest.

Curt

On Nov 23, 2012, at 5:27 AM, Eluze  wrote:

> Curt Siffert wrote
>> Hi, I'm thinking of generating guitar fret diagrams to drill note names
>> for beginning guitar, and I've gotten this far:
>> 
>> 
>> Can anyone think of a way to put the fretboard inlay markers in there? 
>> Either on the diagram, or as labels above or below the fret diagram in the
>> right fret location?  dots on 3rd, 5th, 7th, 9th, double on the 12th.
> 
> here is a way (to be refined) - but I have no idea if this withholds
> attempts to scale it!
> 
> guitarInlay.ly
> <http://lilypond.1069038.n5.nabble.com/file/n136738/guitarInlay.ly>  
> guitarInlay.png
> <http://lilypond.1069038.n5.nabble.com/file/n136738/guitarInlay.png>  
> 
> Eluze
> 
> 
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/guitar-inlays-labels-tp136730p136738.html
> Sent from the User mailing list archive at Nabble.com.
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guitar inlays / labels

[Curt]

Hi, I'm thinking of generating guitar fret diagrams to drill note names for beginning guitar, and I've gotten this far:Can anyone think of a way to put the fretboard inlay markers in there?  Either on the diagram, or as labels above or below the fret diagram in the right fret location?  dots on 3rd, 5th, 7th, 9th, double on the 12th.(lilypond code below)\version "2.16.00"\include "english.ly"\paper{  indent=0\mm  line-width=120\mm  oddFooterMarkup=##f  oddHeaderMarkup=##f  bookTitleMarkup = ##f  scoreTitleMarkup = ##f}\score {	<<  	\new Staff \with {    	    	\clef treble    	\remove Time_signature_engraver    }     \transpose c c \relative fs' {      	    \override TextScript #'size = #'3.0    	    	                                                                                                                                                                          			a^\markup {			      \override #'(fret-diagram-details . (                   (finger-code . in-dot)                   (dot-label-font-mag . 0.6)                                      (orientation . landscape)                   (xo-font-magnification . 0.4)                   (fret-count . 12)                                      (xo-padding . 0.3))) {			\fret-diagram-verbose 			 #'( (place-fret 2 10 "A" inverted) )	     		     		}}    }  		>>    \layout {		\context {			\Staff      		\remove Bar_engraver    	}    }	\midi {		\context {			\Score \with			\settingsFrom { \tempo 4=180 }	    }	}}___
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Re: roman numerals

[Curt]

Well that's just half-dim, but the other one is a good point.  There are plenty 
of 
jazz chords with extensions that would be valuable to notate in roman numerals.
V7 #11 b9 for instance.  #5, b13, whatever.

It seems like so much of this could be enabled just by allowing chord mode
to accept upper and lower case roman numerals as well as pitch names.  That's 
not the same use case (and probably not the same solution) as multi-row 
functional 
theory analysis below the staff, but I think it is a plenty valuable feature 
for 
lilypond to support.



On Nov 21, 2012, at 3:44 PM, David Nalesnik  wrote:

> On Wed, Nov 21, 2012 at 5:35 PM, David Nalesnik
>  wrote:
> 
>> I was thinking of chords like a Cm7b9 and the like.
> 
> Well, that's an awful chord.  I meant Cm7b5 which the example shows..
> 
> -David.


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Re: roman numerals

[Curt]

I'm just curious what other jazz-lead-sheet use cases that the current
snippet might not be sufficient for?  That might help with making a good
feature request.  :-)  I've long thought that using roman numerals would
be a good spruced up "nashville notation" for helping jazz session musicians
learn/play a tune in any key.  So far it seems like the snippet will
do anything I want, but I haven't really pushed it.



On Nov 21, 2012, at 5:58 AM, David Nalesnik  wrote:

>  It isn't designmd
> for complex interactions of figured bass and Roman numerals, or for
> lead-sheet symbols (though you can do some things with notenames and
> strings).
> 
> -David

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Re: roman numerals

[Curt]

Yes, this is what I ended up using.  Works pretty well, a couple of images attached.  It'd be nice if lilypond supported this natively someday.  Most of what I need could be accomplished just by by chord mode allowing roman numerals as well as note names.  Doesn't need to support transposition since they'd be the same in all keys.On Nov 20, 2012, at 11:58 PM, "m...@mikesolomon.org"  wrote:On 21 nov. 2012, at 08:43, Michael Rivers  wrote:As far as I know, Lilypond doesn't support Roman numeral analysis. I can'tfind it anywhere in the documentation, at least. Somebody please correct meif I'm wrong, because I would love to be able to do it.The snippet posted in the original post doesn't work for me. I don't think\rN is a real command. I can't get 2.16.1 to recognize it.I have tried to add Roman numerals to figured bass in Lilypond with \markupcommands, but it looks very wrong.Dunno who I stole this from, but I've used it a lot...Cheers,MS\version "2.17.5"%% A function to create Roman numerals for harmonic analysis. Syntax: \markup \rN { ...list of symbols... } List symbols in this order (as needed): Roman numeral, quality, top number of%% inversion symbol, bottom number, "/" (if secondary function), Roman numeral. "bVII" creates flat VII; "svi" creates sharp vi; "Ab" creates A-flat; "As" A-sharp Qualities: use "o" for diminished, "h" for half-diminished,%% "+" for augmented, "b" for flat.  Use any combination of "M" and "m":%% M, m, MM7, Mm, mm, Mmm9, etc. Added-note chords: add, add6, etc.#(define rN-size -1) %% change to vary size of numerals#(define scaling (magstep rN-size))%%% change constant to adjust distance between characters#(define X-separation (* scaling 0.2)) %%% symmetrical distance between inversion figures and midline#(define inversion-Y-separation (* scaling 0.1)) #(define dim   (markup    #:override `(thickness . ,scaling)    #:draw-circle (* scaling 0.25) (* scaling 0.1) #f))#(define half-dim   (markup    #:override `(thickness . ,scaling)    #:combine    (#:combine dim    #:draw-line `(,(* scaling -0.3) . ,(* scaling -0.3)))    #:draw-line `(,(* scaling 0.3) . ,(* scaling 0.3#(define augmented   (markup    #:override `(thickness . ,scaling)    #:combine    (#:combine #:draw-line `(,(* scaling -0.25) . 0)    #:draw-line `(0 . ,(* scaling -0.25)))    (#:combine #:draw-line `(,(* scaling 0.25) . 0)    #:draw-line `(0 . ,(* scaling 0.25)#(define (acc? str num) (string? number?)   (eq? num (string-index str (char-set #\b #\s #\n %% checks for accidental#(define acc `((#\b . ,(markup #:flat))   (#\s . ,(markup #:sharp))   (#\n . ,(markup #:natural#(define-markup-command (rN layout props symbols) (markup-list?)   ;; isolate and normalize segment of list before slash (if any)   (let* ((up-to-slash (car (split-list-by-separator symbols (lambda (x) (equal? x "/")  (first-part (append up-to-slash (make-list (- 4 (length up-to-slash)) "")))  (normalized   (if (or (string-index (cadr first-part) (string->char-set "mMaAdD"))   (not (null? (lset-intersection equal? '("o" "h" "+" "b") (cdr first-part)   first-part   (list (car first-part) "" (cadr first-part) (caddr first-part  (base (car normalized))  (quality (cadr normalized))  (quality-marker   (cond ((equal? "o" quality) (markup #:raise (* 0.5 scaling) dim)) ((equal? "h" quality) (markup #:raise (* 0.5 scaling) half-dim)) ((equal? "+" quality) (markup #:raise (* 0.5 scaling) augmented)) ((equal? "b" quality) (markup #:raise (* 0.5 scaling) #:flat)) ((equal? "" quality) (markup #:null)) (else (markup quality  (upper (caddr normalized))  (lower (cadddr normalized))  ;; isolate slash and what follows  (second-part (if (member "/" symbols) (member "/" symbols) '("" "")))  (rN-two (cadr second-part))  (base-stencil   (interpret-markup layout (cons (list `(word-space . ,X-separation) `(font-size . ,rN-size)) props) (markup base)))  ;; calculate Y midpoint of base (for positioning quality and inversion)  (vertical-offset (/ (interval-length (ly:stencil-extent base-stencil Y)) 2))  (inversion-stencil   (if (equal? lower "")   (ly:stencil-translate-axis (interpret-markup layout    (cons (list `(word-space . ,X-separation)) props)    (markup #:fontsize (- rN-size 5) upper))  

roman numerals

[Curt]

Hi, what is the easiest way to notate a 
V/V (probably looks just like that)
viidim7/ii (a vii followed by a dim circle superscript and a 7 
superscript, then a slash then a ii)
iim7b5/vi? (either m7b5 superscript, or a half-dim circle superscript, 
then a slash then vi)

It doesn't look like chord mode likes it when I put i's and v's and I's and V's 
in there instead of note names.

I see the snippet here: http://lsr.dsi.unimi.it/LSR/Item?id=710 but am just 
curious if there is an easier way.

Two use cases: 
- I thought it might be nice to put chord qualities on a jazz lead for 
easier transposition, probably above the staff, above or alongside the existing 
chord symbols.
- I am wanting to simply batch-generate a whole mess of those symbols 
completely by themselves, with no staff or note above/below.

Thanks,
Curt


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-dpreview cuts off vertically?

[Curt]

While running a batch job to generate several chords, I found that some of them cut off the top improperly.  For example, here is bdim7.ly .  Yet, it seems to look fine for amin7.ly.  These were generated from --png -dpreview .  The source for the two files is below.  Is this a bug?  This was using 2.16.0 - I checked the change log for 2.16.1 and didn't see anything that would imply it has since been fixed.  The cutoff seems to happen with several other chords with a top note of D.bdim7.ly:\version "2.16.00"                                                                                                                        \include "english.ly"                                                                                                                                                                                                                                                               \paper{                                                                                                                                     indent=0\mm                                                                                                                               line-width=120\mm                                                                                                                         oddFooterMarkup=##f                                                                                                                       oddHeaderMarkup=##f                                                                                                                       bookTitleMarkup = ##f                                                                                                                     scoreTitleMarkup = ##f                                                                                                                  }                                                                                                                                                                                                                                                                                   \score {                                                                                                                                    \new Staff \with {                                                                                                                              \clef bass                                                                                                                                \remove Time_signature_engraver                                                                                                       }                                                                                                                                         {                                                                                                                                             \key c \major                                                                                                                             1                                                                                                                          }                                                                                                                                         \layout {}                                                                                                                                \midi {                                                                                                                                       \context {                                                                                                                                    \Score \with                                                                                                                              \settingsFrom { \tempo 4=120 }                                                                                                        }                                                                                                                                     }                                                                                                                                     }  (amin7.ly is identical except the chord line is         1       )Thanks,Curt___
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Re: mac lion

[Curt]

I've never been able to get frescobaldi working on os x.  But I am enjoying the 
workflow with Elysium.  Outline view, pdf output as you edit, etc.  Plus, since 
it's an eclipse plugin, you get all the added benefits of an IDE, such as 
git/svn integration and other similar things.

Curt


On Sep 12, 2012, at 3:50 PM, Jean-Alexis Montignies wrote:

> Hi,
> 
> I've been using command line only, self compiled version of Lilypond for 2 
> years now. The lilypond and lilypond-devel in macports are updated very 
> regularly.
> 
> I'm now running 2.17.1 on mountain lion.
> 
> This version if 3-4 times faster (at least last times I compared with 2.14 
> versions) than the official binary. I don't know why but it may be because it 
> uses more recent libraries or compilers.
> 
> The user interface of Lilypond on mac os is extremely limited, even compared 
> to textedit, the only thing it has is to be able to click on the preview and 
> get the cursor in the source. I would recommend using Frescobaldi.
> 
> Jean-Alexis
> 
> On 11 sept. 2012, at 10:25, Phil Holmes  wrote:
> 
>> - Original Message - From: "macula" 
>> To: 
>> Sent: Tuesday, September 11, 2012 7:55 AM
>> Subject: Re: mac lion
>> 
>> 
>>> I can confirm that 2.16.0, at least, works with 10.7.4.
>>> 
>>> As far as building the binaries, however, my experience has been negative. I
>>> have been unable to compile LilyPond on my machine, either manually or using
>>> homebrew. I have reported the issue on the devel list
>>> (http://lists.gnu.org/archive/html/lilypond-devel/2012-09/msg00452.html),
>>> and hopefully one of the wizards will take a few moments to examine it as it
>>> is reproducible and not limited to my machine.
>> 
>> 
>> As far as I'm aware, no-one has replied to your post about compiling on Mac, 
>> because as a general rule, we don't expect this to be needed.  Most people 
>> developing on lilypond use Ubuntu which we know will compile the binary. For 
>> those who don't have an Ubuntu machine, we would recommend 
>> http://lilypond.org/doc/v2.17/Documentation/contributor/lilydev
>> 
>> --
>> Phil Holmes 
>> 
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> 
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Re: Chordname collisions

[Curt]

This worked for me (in conjunction with the snippet I mentioned):	1-\markup { 		\concat { 			\super "7" 			\raise #0.5			\fontsize #+2.0 "(" \fontsize #-4.0			\raise #2.0 			\column { \line { \flat "9" }\line { \sharp "5" }			}			\raise #0.5			\fontsize #+3.0 ")"		}	}CurtOn Sep 9, 2012, at 1:15 AM, Jim Long wrote:I'm having the problem illustrated in the attachment, thecollision of the markup for the second and third chords in theChordNames staff.  If this is a bug, is there a simple workaroundI can use until the collision issue is addressed?Thank you!Jim___lilypond-user mailing listlilypond-user@gnu.orghttps://lists.gnu.org/mailman/listinfo/lilypond-user___
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Re: Chordname collisions

[Curt]

For what it's worth, jazz lead sheets commonly portray this as putting the b9 on top of the #5, both inside larger parentheses.  (I was notating this exact chord quality tonight, image from source pdf pasted below.)  I'm not sure how to accomplish those large parentheses with \markup, but if that's solvable, you could always customize the chord symbol as shown in this snippet:http://lsr.dsi.unimi.it/LSR/Item?id=517It would be some markup after this:1-\markup { ... }On Sep 9, 2012, at 1:15 AM, Jim Long wrote:I'm having the problem illustrated in the attachment, thecollision of the markup for the second and third chords in theChordNames staff.  If this is a bug, is there a simple workaroundI can use until the collision issue is addressed?Thank you!Jim___lilypond-user mailing listlilypond-user@gnu.orghttps://lists.gnu.org/mailman/listinfo/lilypond-user___
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Re: fonts on Mac 10.7.4

[Curt]

On Sep 2, 2012, at 2:27 AM, flup2 wrote:

> The correct command is, as indicated in the help page you linked :
> 
> \override Staff.TimeSignature #'font-name = "..." 
> 
> The "Staff." before TimeSignature was missing in your override. Now, it's
> working right on my side.
> 
> Philippe

Sorry, I was probably being too concise.  :)  I have it inside a Staff block.

\new Staff \with {
\override TimeSignature #'style = ##f
\override TimeSignature #'font-size = #5
\override TimeSignature #'font-name = "Gloucester MT Extra Condensed"
} 

Switching it to Times works, but Gloucester doesn't, even though Gloucester 
does work for title.

Ah well, it looks like there are plenty of other fonts I can use, that work for
time signature.  I guess I learned a lot about font behavior tonight.  :)

Curt


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Re: fonts on Mac 10.7.4

[Curt]

On Sep 2, 2012, at 1:02 AM, flup2 wrote:

> Hello,
> 
> 3 things that might help :
> 
> Did you already try to use that particular font to change the title font in
> LilyPond ? Trying this in the paper block could test that your font is
> really recognized by Lilypond :

I just tried - it looks like it can't use it in the title, either.  There, I 
get a 
console error:

warning: `(fondu -force /Library/Fonts/Microsoft/Gloucester MT Extra 
Condensed)' failed (256)

When I try to run fondu in Terminal, I get this:

Can't find an appropriate resource fork in /Library/Fonts/Microsoft/Gloucester 
MT Extra Condensed

But it's odd that Lilypond otherwise reports it as an available font.

And I'm not sure why it's trying to run fondu on it in the first place, as it's 
not a .dfont .

Then, a bit of progress - 

I was able to find a *.ttf version of that font online, and I just threw the 
*.ttf file into my ~/.fonts directory.

Then, your code sample worked on a small test document.  The title is 
in Gloucester.

However, it still doesn't work for the time signature, (you were right),
which is a bummer since that was the point for me.  :)

Anyway, I'm not sure if any of these are bugs, but I'd summarize as:

- Why is Lilypond trying to run fondu on font files that are already truetype
- the installed version is font v 1.51, opentype and truetype, shows as 
0 bytes in terminal but 76 kilobytes in finder
- the downloaded *.ttf is font v 1.50, truetype, shows as
26 kb in terminal, and 68 kb in finder
- If a title can be changed to another font, shouldn't a time signature
be able to be changed as well?  Or is there another way to 
accomplish this?  I thought this might be because of the Feta
font, but this docs page implies it should be possible to 
switch time signature fonts:

http://lilypond.org/doc/v2.16/Documentation/notation-big-page.html#single-entry-fonts

Thanks to anyone willing to wade in these weeds.  :)

Curt


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fonts on Mac 10.7.4

[Curt]

Hi, I'm using Lilypond.app 2.16 on Mac 10.7.4.  (The change log says 10.7 is 
supported now.)

lilypond -dshow-available-fonts x 

shows that I have Gloucester MT Extra Condensed available as a font for me.  
Font Book shows it as being in True Type and Open Type format.

I try specifying it in my lilypond score file:

\override TimeSignature #'font-name = "Gloucester MT Extra 
Condensed"
\override TimeSignature #'font-size = #2

and it just comes at as some sort of plain sans serif looking thing.  I don't 
get any error messages or warnings.

Is there something extra I have to do to make lilypond see my fonts?  I saw the 
thing in the docs about "fondu" but that only looked relevant for the ".dfont" 
system fonts on os x.

Thanks,
Curt


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Re: giant bar numbers

[Curt]

On Aug 30, 2012, at 10:14 PM, Nick Payne wrote:

> On 31/08/12 15:10, Nick Payne wrote:
>> On 31/08/12 13:00, Curt wrote: 
>>> For film scoring, it's common to want giant bar numbers in the middle of 
>>> the score.  Does anyone have ideas on how to center bar numbers above a 
>>> bar, as opposed to them being aligned to the bar line?  With that, I'm 
>>> thinking I can create an invisible staff that has no engraver except for 
>>> the bar-number-engraver, and then giving it a very large font.  It'd be 
>>> just above Violin 1 in the orchestral score.  I think that way they'll be 
>>> nicely aligned vertically - I'm just not sure how to center them. 
>> 
>> Have a look at http://lsr.dsi.unimi.it/LSR/Item?id=651 
> 
> Maybe https://code.google.com/p/lilypond/issues/detail?id=2445 provides a 
> better solution (scroll to the bottom to get the latest version of the code).
> 
> Nick

Wow!  Thanks.  That's some advanced stuff, there.  Hopefully it'll be 
incorporated soon into lilypond itself.

To ensure horizontal alignment throughout, I used the second option.  After 
including the scheme, I used:

\layout {
  \context {
\Global
\grobdescriptions #my-grob-descriptions
#my-event-classes
  }
  \context{
\RhythmicStaff
\consists \measureCounterEngraver

  \remove "Time_signature_engraver"
  \remove "Clef_engraver"
  \override BarLine #'transparent = ##t
  \override StaffSymbol #'line-count = #0
  }
}

and also

\new RhythmicStaff = "MeasureNumbers" {
\override Staff.MeasureCounter #'font-encoding = #'fetaText
\override Staff.MeasureCounter #'font-size = #+4
\measureCounterStart
s2.*42
\measureCounterEnd  
}



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giant bar numbers

[Curt]

For film scoring, it's common to want giant bar numbers in the middle of the 
score.  Does anyone have ideas on how to center bar numbers above a bar, as 
opposed to them being aligned to the bar line?  With that, I'm thinking I can 
create an invisible staff that has no engraver except for the 
bar-number-engraver, and then giving it a very large font.  It'd be just above 
Violin 1 in the orchestral score.  I think that way they'll be nicely aligned 
vertically - I'm just not sure how to center them.

Thanks!
Curt


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vertical spacing on second page

[Curt]

Hi, am I misunderstanding how vertical spacing works?  I am not sure how to 
make the second page of a score respect these \paper variables.  The second 
page has everything close to the top for me.  I am referring specifically to 
top-markup-spacing and markup-system-spacing.

Thanks!
Curt

\version "2.16.0"
\include "english.ly"

\paper {
ragged-bottom = ##t
ragged-last-bottom = ##t
markup-system-spacing #'basic-distance = #18
top-markup-spacing #'basic-distance = #6
max-systems-per-page = #1   
}   

\header {
instrument = "Harp"
}

\new Staff \relative c' {
a b c d | a b c d | a b c d | a b c d |
\break
a b c d | a b c d | a b c d | a b c d |
}


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Re: cross-hands, cross-staves

[Curt]

Well... future patterns later in the piece are larger than hand size, and, it 
plays fast and soft enough that I find it unreasonable to play with one hand.  
Audio of the complete improvisation is at my site: 
http://curtsiffert.com/anelusivesweetness .



On Aug 29, 2012, at 5:04 PM, Shane Brandes wrote:

> Looks to me that the cross tie stuff lies easily under the left hand alone. 
> 
> Shane
> 
> On Wed, Aug 29, 2012 at 3:09 PM, Curt  wrote:
> 
> Thank you for the perspectives!  It's nice to know that it comes across 
> clearly.  I was afraid it might look too cluttered but I can always also just 
> play with the staff spacing a bit.
> 
> Curt
> 
> On Aug 29, 2012, at 5:06 AM, David Nalesnik wrote:
> 
> > Hi Curt,
> >
> > On Wed, Aug 29, 2012 at 2:30 AM, Francisco Vila  
> > wrote:
> >> 2012/8/29 Curt 
> >>> The actual question is wondering if anyone thinks there is a
> >>> better/clearer way to notate the following figure.  Hands alternating, 
> >>> with
> >>> melody in the pinky.  The pattern continues throughout the piece (with
> >>> different notes).  Right hand stays in the same general location, right 
> >>> hand
> >>> wanders down an octave or so at times.
> >>
> >> Now to your actual question: at first sight, beaming on 16ths suggests
> >> same hand despite of being cross staff. In this case I would indicate
> >> clearly R.H. on the 16ths in upper staff. It would be more kludgy but
> >> also doubtless (on how to play it) to use alternate 16ths and silences
> >> instead of cross beaming.
> >>
> >
> > I think the way you notate this is perfectly clear.  Distributing
> > notes between the staves depending on which hand the player should use
> > is expected in notation for the piano.  (You can find many instances
> > of this in Debussy's Preludes, for example).  Indicating R.H. and L.H.
> > shouldn't be necessary if the staff distribution makes this obvious,
> > whether the cross-staff notes are beamed together or not (certainly a
> > good idea here).
> >
> > The passage itself is not hard with alternating hands and 3-4-5 on the
> > melody, but it's a different story with taking the accompaniment in
> > the left hand.  Though doable, I don't imagine that would be a
> > pianist's first impulse!
> >
> > -David
> 
> 
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Re: drummode and notemode

[Curt]

On Aug 29, 2012, at 2:48 PM, David Kastrup wrote:

> Like with the previous example, I am somewhat skeptic that this will
> work under all important circumstances, but it looks like a somewhat
> feasible hack, and at least seems to do a bit more than my first
> proposal.
> 
> -- 
> David Kastrup

Going off the definition you found, it looks like something as simple as 
this is working for me.

\version "2.16.00"
\include "english.ly"

\new Staff \with { \accepts "DrumVoice" } \relative c''
{
a! b? c
\clef percussion
\new DrumVoice { \drummode { ss hh }}
}

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Re: drummode and notemode

[Curt]

On Aug 29, 2012, at 2:48 PM, David Kastrup wrote:

> Curt  writes:
> 
>>> On Aug 29, 2012, at 12:33 PM, David Kastrup wrote:
>>> 
>>>Try
>>> 
>>>\include "english.ly"
>>> 
>>>\drums \with { \accepts "Voice" }
>>>{
>>>ss hh
>>>\new Voice { \notemode { \clef treble a b c } }
>>>}
>> 
>> ah-ha! Thank you David!! I'll read deeper on \with and \accepts.
> 
> Good luck with that...  I am not really sure this is a proper solution [...]
> Not having the accidental engraver (as compared to the DrumStaff) is
> probably a no-go.  

Yes, one of the first things I noticed is that my accidentals weren't working.
If I switched to a Staff accepting DrumStaff then I was roughly able to get
what I wanted, but I know that is a clumsy approach.  Thanks for the pointer
on how DrumStaff is defined - I will take a closer look at the rest of your 
approach.



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Re: drummode and notemode

[Curt]

ah-ha!  Thank you David!!  I'll read deeper on \with and \accepts.

Curt

On Aug 29, 2012, at 12:33 PM, David Kastrup wrote:

> Try
> 
> \include "english.ly"
> 
> \drums \with { \accepts "Voice" }
> {
>  ss hh
>  \new Voice { \notemode { \clef treble a b c } }
> }

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drummode and notemode

[Curt]

I have an orchestral film cue where a percussionist waits a few bars, plays a few glockenspiel notes, waits several bars, and switches to suspended cymbal for a roll.  It seems a waste of score space to make it two separate staves.  But I am having trouble figuring out how to switch from \drummode to \notemode in the same staff (or vice versa).  Here's the shortest example I can come up with that illustrates the problem.  Is there a way to either put melody notes in a DrumStaff, or drummode in a normal Staff?  The documentation led me to believe the below approach should work (not sure if that's the documentation's problem or my problem.  :-)  ).Thanks again,Curt\version "2.16.00"\include "english.ly"\drums {	ss hh	\clef treble	\notemode { a b c }}___
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Re: cross-hands, cross-staves

[Curt]

Thank you for the perspectives!  It's nice to know that it comes across 
clearly.  I was afraid it might look too cluttered but I can always also just 
play with the staff spacing a bit.

Curt

On Aug 29, 2012, at 5:06 AM, David Nalesnik wrote:

> Hi Curt,
> 
> On Wed, Aug 29, 2012 at 2:30 AM, Francisco Vila  wrote:
>> 2012/8/29 Curt 
>>> The actual question is wondering if anyone thinks there is a
>>> better/clearer way to notate the following figure.  Hands alternating, with
>>> melody in the pinky.  The pattern continues throughout the piece (with
>>> different notes).  Right hand stays in the same general location, right hand
>>> wanders down an octave or so at times.
>> 
>> Now to your actual question: at first sight, beaming on 16ths suggests
>> same hand despite of being cross staff. In this case I would indicate
>> clearly R.H. on the 16ths in upper staff. It would be more kludgy but
>> also doubtless (on how to play it) to use alternate 16ths and silences
>> instead of cross beaming.
>> 
> 
> I think the way you notate this is perfectly clear.  Distributing
> notes between the staves depending on which hand the player should use
> is expected in notation for the piano.  (You can find many instances
> of this in Debussy's Preludes, for example).  Indicating R.H. and L.H.
> shouldn't be necessary if the staff distribution makes this obvious,
> whether the cross-staff notes are beamed together or not (certainly a
> good idea here).
> 
> The passage itself is not hard with alternating hands and 3-4-5 on the
> melody, but it's a different story with taking the accompaniment in
> the left hand.  Though doable, I don't imagine that would be a
> pianist's first impulse!
> 
> -David


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cross-hands, cross-staves

[Curt]

Hi, a question and a meta-question.  The meta-question is, is there a more appropriate list to ask for suggestions on the best way to notate something?  I occasionally have questions just about the clearest notation choice.The actual question is wondering if anyone thinks there is a better/clearer way to notate the following figure.  Hands alternating, with melody in the pinky.  The pattern continues throughout the piece (with different notes).  Right hand stays in the same general location, right hand wanders down an octave or so at times.Thank you,Curt\version "2.16.0"\include "english.ly"global = {	\key a \major	\time 4/4}aovere = {	\change Staff="rh"	16	\change Staff = "lh"	16}\new PianoStaff <<	\new Staff = rh <<		\global		\new Voice = "melody" \relative c' {			\voiceOne			r4			e( fs gs			fs2. e4			e1)}		\new Voice = "shimmer" \relative c' {			\voiceTwo			16\p			\change Staff = "lh"			16			\repeat unfold 7 \aovere			\repeat unfold 16 \aovere	}	>>	\new Staff = lh \relative c' {		\global		\clef bass		s1*3	}>>___
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Re: subito dynamic after hairpin

[Curt]

I've resolved my issue.  :-)I used http://lsr.dsi.unimi.it/LSR/Item?id=739 with a couple of small differences.  I swapped the parameters, and then multiplied the calculation by -2 instead of 2.  Works great.Thanks everyone!Curt___
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Re: subito dynamic after hairpin

[Curt]

Yes, thanks to Tiresia.  I'll definitely switch to putting (subito) after the 
dynamic.  Having the dynamic right after the hairpin solves all the hairpin 
problems.  I'm just trying to figure out how to easily get the (subito) on the 
same vertical level (consistently) as the dynamic now, while retaining the 
proper position of the dynamic (centered below its note).

On Aug 22, 2012, at 10:32 PM, wjm wrote:

> Taking all that has gone before, where must Curt Siffert place his 'subito' 
> text to make whatever it is he requires musically correct and meaningful? 
> Perhaps a scan of a simple hand-drawn example would suffice, perhaps with a 
> written explanation as well? And what would be the method/LP code to do it?
> (the last is beyong me, I afraid!)
> Regards
> Bill


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Re: subito dynamic after hairpin

[Curt Siffert]

On Aug 21, 2012, at 10:47 PM, Nick Payne wrote:
  

  
  
On 22/08/12 14:41, Curt Siffert wrote:


  
  
  Hi, I am trying to make a decrescendo end in a subito dynamic
for the next note.  Not sure how to make it align.  I found lots
of examples online on how to shift over subito mf, but in my
case they make the decrescendo too small.  I'm not actually sure
I'm going for the right solution here because I'm not 100% sure
what would be the best way to notate this.  Any suggestions?
 Three tries appended below.
  
  
  Thanks :)
  Curt
  


Have you had a look at

http://lsr.dsi.unimi.it/LSR/Item?id=739
or

http://lsr.dsi.unimi.it/LSR/Item?id=393

Nick
  Yes.  Enclosed is a much longer snippet that applies my examples and all of the above examples to my two-measure snippet.  I suppose my first example, and the sixth one ("Solution #2" from the second snippet above) are closest, but none are ideal.  Makes me wonder if I'm overlooking a far easier way to accomplish this?Thanks again :)Curt

Test.ly
Description: Binary data
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subito dynamic after hairpin

[Curt Siffert]

Hi, I am trying to make a decrescendo end in a subito dynamic for the next 
note.  Not sure how to make it align.  I found lots of examples online on how 
to shift over subito mf, but in my case they make the decrescendo too small.  
I'm not actually sure I'm going for the right solution here because I'm not 
100% sure what would be the best way to notate this.  Any suggestions?  Three 
tries appended below.

Thanks :)
Curt

\relative c'' {
\time 3/4
d2.\mf\> |
a2-\markup{ \italic \tiny subito } d8\!\mf( e) |

R2.

d2.\mf\> |
a2 d8\!-\markup{ \italic \tiny subito } \mf( e) |   

R2.

\textLengthOn
d2.\mf\> |
a2 d8\!-\markup{ \italic \tiny subito \dynamic mf}( e) |

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Re: chord/lyric lead sheet

[Curt Siffert]

No - I use a chordii-like approach for an earlier part of 
my process, but for this I want something that communicates 
song structure more specifically.

I was able to improve the template by pulling in some
suggestions from the "spoken-music" part of the docs.
I have to put the length of the first measure at the end
of the first line of lyrics.

It gets rid of the warnings and will let me use odd meters,
but I still have that unnecessary space at the end of every
measure.  Does anyone have any ideas?  New template
appended below the quoted material below.

On Aug 18, 2012, at 2:03 PM, Johan Vromans wrote:

> Curt Siffert  writes:
> 
>> Hi, as a songwriter that sings/plays, I often want to put together
>> rough lead sheets that communicate chords/lyrics/structure as a
>> memory aid, or to give to backup musicians.
> 
> Aren't you looking for a tool like Chordii?
> http://chordii.sourceforge.net/
> 
> -- Johan


\version "2.15.43"
\language "english"

chordSymbols = \chordmode {
fs1:maj7 fs:maj7/e g:sus4 f e   
}

songLyrics = \lyricmode {
"My small girl of five wants a"1
"story good-night she likes"
"kittens and pebbles and"
"fairies asleep in the"
"trees"
}

slash = {
c4 c c c
}

<<
\new ChordNames { 
\chordSymbols
}
\new Staff <<
\time 4/4
\new ImproVoice = "slash" \relative c' {
\repeat unfold 5 \slash 
}   
>>
\new Lyrics \with {
\override LyricText #'self-alignment-X = #LEFT
}
{ \songLyrics }
>>

\layout {
\context {
\name ImproVoice
\type "Engraver_group"
\consists "Note_heads_engraver"
\consists "Rhythmic_column_engraver"
\consists "Text_engraver"
\consists Pitch_squash_engraver
squashedPosition = #0
\override NoteHead #'style = #'slash
\override Stem #'transparent = ##t
\alias Voice
}
\context { 
\Staff
\accepts "ImproVoice"
}
\context {
\Lyrics
\consists "Bar_engraver"
\consists "Separating_line_group_engraver"
\override BarLine #'transparent = ##t
}
}

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chord/lyric lead sheet

[Curt Siffert]

(apologies if this was posted multiple times - I tried through gmane
first and it gave me errors.)

Hi, as a songwriter that sings/plays, I often want to put together
rough lead sheets that communicate chords/lyrics/structure as a
memory aid, or to give to backup musicians.

It's not necessary for me to notate the vocal melody in these cases
and it saves time to not have to do that.  What's better is to have
the lyrics generally align with what measure they're under.

I have a template here that I think gets me most of the way there.
What's nice is that you can take the template and just focus on
putting in the chords and lyrics.  But I'm a lilypond beginner and
am curious how others could improve it.  Main questions:

1) Why is there that extra white space at the end of each bar and
how can I reduce that?  I spent a lot of time yesterday trying 
to compress those measures, and didn't get anywhere.
2) Apparently a "quoted lyrics line" can't be made to span over
tied/slurred notes, so I'm not sure how to make this work 
easily for odd-meter time signatures (3/4, 5/4).
3) I get "warnings" about putting lyrics to devnull.  But if I
switch to a hideNotes approach, I get a "note-column has 
no direction" warning.

Thanks, I'd love to submit this as a snippet once it's improved 
a bit.  

Curt

\version "2.15.43"
\language "english"

chordSymbols = \chordmode {
fs1:maj7 fs:maj7/e g:sus4 f e   
}

songLyrics = \lyricmode {
"My small girl of five wants a" 
"story good-night she likes" 
"kittens and pebbles and"
"fairies asleep in the"
"trees" 
}

slash = {
c4 c c c
}

<<
\new ChordNames { 
\chordSymbols
}
\new Staff <<
\time 4/4
\new Devnull = "silent" \relative c'' {
\repeat unfold 5 c1
}
\new ImproVoice = "slash" \relative c' {
\repeat unfold 5 \slash 
}   
>>
\new Lyrics \lyricsto "silent" {
\override LyricText #'self-alignment-X = #LEFT
\songLyrics
}
>>

\layout {
\context {
\name ImproVoice
\type "Engraver_group"
\consists "Note_heads_engraver"
\consists "Rhythmic_column_engraver"
\consists "Text_engraver"
\consists Pitch_squash_engraver
squashedPosition = #0
\override NoteHead #'style = #'slash
\override Stem #'transparent = ##t
\alias Voice
}
\context { 
\Staff
\accepts "ImproVoice"
}
\context {
\Lyrics
\consists "Bar_engraver"
\consists "Separating_line_group_engraver"
\override BarLine #'transparent = ##t
}
}


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Re: lyrics free from notes

[Curt Siffert]

Sounds like the opposite of melisma.  You want the words to track the  
notes.  In melisma it's multiple notes per syllable.  Here he might  
have multiple syllables per note.  Which will sometimes happen in the  
case of multiple verses written under a melody line.  (Although there  
is usually a parenthetical note that will align to additional  
syllables.)


On Jun 3, 2007, at 10:26 PM, David Rogers wrote:



On Jun 3 2007, at 19:41, Alan Jones wrote:


I need a way to specify which beats the words of my
lyrics fall on independent of the voice that they are
associated with.  In the attached example I have
three words that I want on the corresponding beats:
one, two, three.  However, because the voice has a
half note for the last two beats Lilypond overlaps the
words 'two' and 'three' -- even though I've tried to override
by placing length numbers after every word.  I do want
the words to follow the music, for example if some
accidentals move the horizontal placement of the beat, etc.
Thanks for any help!


Sorry for the stupid question, but how do you sing this? Is it sung  
lyrics we're dealing with here, or something else?



David


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handwritten font, drupal plugin

[Curt Siffert]

Hi, I'm thinking about learning lilypond as a really fast way to come  
up with jazz lead sheets like the ones

in my fake books.

I'm so used to the cool-looking handwritten fonts for chord symbols,  
though.  Is there a way to make that
happen for lilypond?  Or, less importantly, the handwritten look for  
the engraving itself?


I'd like to figure out how to templatize this as much as possible so  
it's just a matter of adding title, chords,
melody line, and lyrics.  Especially multiple lines of chord symbols  
(for alternate changes).  Then I could
easily start going through the lead sheets in my fake books and  
modifying them for my purposes.


Finally does anyone know if there is already a drupal plugin for  
lilypond syntax?  I saw one for wordpress but I use drupal.


Thanks for any suggestions!


~^~^~^~^~^
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