Re: Help need with the "implicitBassFigures" command

[Eef Weenink]

> So my choosing the number as “0” (or any other). I can use that
> number instead of the original to have it surpressed.
> Good to know. For pratical reasons (not getting lost in my scores ☺ )
> I will set this everytime to “5” or what number needed (in figured
> bass, I know about the 5 not being needed to mention, because if
> nothing written it is always 5.

If you think about it, that's not true! There are many notes which
remain unfigured where it is left to the performer to judge that a
change of harmony is not required. Indeed, usually the majority of
notes.
And conversely, you do see the 5 even when it is not the resolution of
a suspension.

>  Maybe also some other numbers to surpress? )

Well, just to keep track of what the figure being suppressed is, you
could use 55 in your implicitBassFigures list - it would mean you only
have to declare the list once. Then you would write the figure 55 for
those 5's which are being suppressed.

I have to say that if I came across your example in performance I would
imagine it was the 6 on the note earlier that was being extended. But
then, as the figures are appearing below the staff, the figures are
perhaps intended for academic use only?
---
I like the idea with the number 55. Easy to remember, what it stands for.

The example was copy-pasted together to get as much variations in a short line.
Nothing to analyze.

I understand that the suppressing of numbers, or just not writing down a 
number, depends on time, place and composer in history. Every time, place and 
person had his/her conventions. I am in the process of learning this.
And for me, my convention now is:
- As as start I presume any note on the bassline is the tonica of a harmony.
- Looking at the melody above, it could be that some notes are passing notes, 
or other notes not part of the harmony-structure.
- Unless there is a number I will presume the chord would have the number 5. If 
something else is needed, they would have written it down.
- Sometimes the 5 is written down, then I have to take care that at least there 
is a fifth in the chord.
- Extension lines are a way to say” Next note has the same harmonic number”

As soon things come on my path, what do not fit this shortlist, I have to add 
more rules. ☺

And now back to Wolf, General Bass.
Thank you for your help. Regards, Eef

Re: Help need with the "implicitBassFigures" command

[Eef Weenink]

Perfect solution. I repeat it for future readers:

Context = \new FiguredBass
First time:
Set in context with:
\new FiguredBass \with { implicitBassFigures = #'(0) }
Or in score with:
  \set FiguredBass.implicitBassFigures = #'(0)
Next time(s)
\set implicitBassFigures = #'(0)
Is enough,

And if context = Staff, change every FiguredBass to Staff

Thank you. Eef

Van: Michael Werner 
Datum: donderdag, 11 januari 2024 om 12:15
Aan: Eef Weenink 
CC: lilypond-user@gnu.org 
Onderwerp: Re: Help need with the "implicitBassFigures" command
Hi there,

On Thu, Jan 11, 2024 at 5:49 AM Eef Weenink 
mailto:h.e.ween...@de-erve.nl>> wrote:
\new FiguredBass \with { implicitBassFigures = #'(0) }
%{if I set the implicitBass to 5, or other number, it works for the whole 
passage%}
\figuremode {
  \set figuredBassAlterationDirection = #RIGHT
  \set figuredBassPlusDirection = #RIGHT
  \override BassFigureAlignment.stacking-dir = #DOWN
  <6 5->8 <5 4->8
  \extendOn
  \set Staff.implicitBassFigures = #'(5)
  %{if I set the implicitBass to 5, or other number, it DOES NOT do 
anything%}
  <5 3>4
  \set Staff.implicitBassFigures = #'(0)
  \extendOff <5 _+>8
  <7>8 <6>8 <5>4

You had it almost right here. The one thing you need to change is that the 
implicitBassFigures property is part of the FiguredBass context, not Staff. 
Since there is no implicitBassFigures property in the Staff context that \set 
command will just get silently ignored. So either change the
\set Staff.implicitBassFigures
to
\set FiguredBass.implicitBassFigures
or, since these statements are already in the FiguredBass context, just leave 
the context off and make it just
\set implicitBassFigures
And then you should be good.
--
Michael

Help need with the "implicitBassFigures" command

[Eef Weenink]

Good day to all of you.

I am working on a figured bass, and now it is needed to get an extended line 
under two notes, not showing the number:
[Afbeelding met lijn, Lettertype, ontvangst, tekst  Automatisch gegenereerde 
beschrijving]
The line under the d and e have the meaning: Read as 5 and extend to next note.
I made this using this command:
  \new FiguredBass \with { implicitBassFigures = #'(5) }

But this surpresses ALL the “fives” in the fragment. It I set it to “0” or 
leave it out, I see this:
[Afbeelding met Lettertype, lijn, muziek  Automatisch gegenereerde beschrijving]
Only the 5 at d and e should be surpressed. So I input these lines:
<5 4->8
  \extendOn
  \set Staff.implicitBassFigures = #'(5)
  %{if I set the implicitBass to 5, or other number, it DOES NOT do 
anything%}
  <5 3>4
  \set Staff.implicitBassFigures = #'(0)

Big puzzle now is how to get this to work. I read somewhere this would be 
caused by combination of implicitBassfigures and \bassFigureExtendersOn.
However it is no option to leave \bassFigureExtendersOn out (I would not get 
the line I need).

For testing, here is the example I used:
%%---
\version "2.24.3"

extendOn = \bassFigureExtendersOn
extendOff = \bassFigureExtendersOff

\score {
  \new StaffGroup <<
\new Staff = "violone" \with {
  instrumentName = \markup {
\center-column { Violone, \line { e Cembalo. } }
  }
}
{
  \time 4/4
  \clef bass
  fis8 d8 e8 fis8 g8 g,4 g16 f
}

\new FiguredBass \with { implicitBassFigures = #'(0) }
%{if I set the implicitBass to 5, or other number, it works for the whole 
passage%}
\figuremode {
  \set figuredBassAlterationDirection = #RIGHT
  \set figuredBassPlusDirection = #RIGHT
  \override BassFigureAlignment.stacking-dir = #DOWN
  <6 5->8 <5 4->8
  \extendOn
  \set Staff.implicitBassFigures = #'(5)
  %{if I set the implicitBass to 5, or other number, it DOES NOT do 
anything%}
  <5 3>4
  \set Staff.implicitBassFigures = #'(0)
  \extendOff <5 _+>8
  <7>8 <6>8 <5>4
}
  >>
}
%%

Re: How to move ossa staff to "in between" or "on top"?

[Eef Weenink]

Yep. that is the solution. Thank you. Regards, Eef

Op 17 sep. 2023, om 14:48 heeft Jean Abou Samra 
mailto:j...@abou-samra.fr>> het volgende geschreven:

\with { alignAboveContext = "right" }

How to move ossa staff to "in between" or "on top"?

[Eef Weenink]

Hello all, 

For a piano-score I want to have an extra staff, so the pianist can read the 
melody of the singer. 
An ossa staff only on the places where the singer is  exactually active. 
I have made this example: (see below). 

This way the extra staff always is at the bottom. What to do to get in on top 
or in between the left + right hand staff? 

Regards, Eef

%---
\version "2.24.2"

global = {
  \key c \major
  \time 4/4
}

right = \relative c'' {
  \global
  % Muziek volgt hier.
  
  c4 c c c 
<<
{c4 c c c c c  }

\\ 
\new Staff { d d }
>>
  
}

left = \relative c' {
  \global
  % Muziek volgt hier.
  c,4 c c c c c c c c c 
}

\score {
  \new PianoStaff \with {
instrumentName = "Piano"
  } <<
\new Staff = "right" \with {
  midiInstrument = "acoustic grand"
} \right
\new Staff = "left" \with {
  midiInstrument = "acoustic grand"
} { \clef bass \left }
  >>
  \layout { }
  \midi {
\tempo 4=100
  }
}

%-

Re: detecting parallel fifths and octaves in figured bass

[Eef Weenink]

Thank you Valentin, 

This is great stuff you made!

Eef

> Op 20 jul. 2023, om 18:54 heeft Valentin Petzel  het 
> volgende geschreven:
> 
> Hello Eef,
> 
> if you are going to do something like this I’d suggest a somewhat modular 
> design. In part writing there are many rules that apply to different voices, 
> so 
> I suggest to do something that allows to do arbitrary checks in a nice and 
> extendable manner. I’ve sketched up a small proof of concept.
> 
> Cheers,
> Valentin
> 
> Am Donnerstag, 20. Juli 2023, 08:57:11 CEST schrieb Eef Weenink:
>> thank you all  for these great suggestions!
>> However these solutions do more then my job for me ;-)
>> I need to learn to do this myself, not automate it.
>> 
>> The suggesions made me find this: https://lsr.di.unimi.it/LSR/Item?id=1100
>> about colouring intervals. I will try to combine that and the
>> partwriter.ly<http://partwriter.ly> in a tool. What should it do: - take
>> all chords apart and save the intervals in an array:
>> with 4 voices chords, this will be 6 intervals per chord:
>> SB (Soprano Basso)
>> SA (Soprano Alto)
>> ST (Soprano Tenor)
>> AT (Alto Tenor)
>> AB (Alto Basso)
>> TB  (Tenor Basso)
>> numbering intervals per half step: 1, 2, . 12
>> 
>> Compare the intervals of two consecutive chords
>> and search for issues:
>> examples:
>> - are there two voices with consecutive fifths (intervals are   both 8)
>> - are there two voices with consecutive octaves (ntervals are both 12)
>> etc.
>> 
>> If so, colour the noteheads
>> 
>> Applying this tool would help to check if I overlooked issues.
>> 
>> If a tool like that already exists? would be great :-)
>> 
>> Eef
>> 
>> 
>> 
>> 
>> 
>> Op 16 jul. 2023, om 10:33 heeft Vaughan McAlley
>> mailto:vaug...@mcalley.net.au>> het volgende
>> geschreven:
>> 
>> I wrote a script in Lua to check MIDI files for consecutives. It assumes one
>> voice per track, so may not suit your needs for figured bass. I need to
>> make it more user-friendly, but would be happy to do so if anyone is
>> interested.
>> 
>> Congratulations to Thomas Tallis for having no consecutive fifths at all in
>> Spem in alium!
>> 
>> Vaughan
>> 
>> 
>> On Sat, 15 Jul 2023 at 07:13, Eef Weenink
>> mailto:h.e.ween...@de-erve.nl>> wrote: Maybe
>> somebody already made a script for this:
>> 
>> In figured bass there are two fundamental rules: Avoid parallell octaves and
>> or fifhts. So it would be nice to have some scipts what checks for this. So
>> if two voices have a distance of a fifth or octave, the next chord is
>> checked if the same two voices have a fifth or octave too. If so, they are
>> parallel.
>> 
>> Any ideas, suggestions?
>> 
>> regards, Eef
> 
> 

Re: detecting parallel fifths and octaves in figured bass

[Eef Weenink]

thank you all  for these great suggestions!
However these solutions do more then my job for me ;-)
I need to learn to do this myself, not automate it.

The suggesions made me find this: https://lsr.di.unimi.it/LSR/Item?id=1100 
about colouring intervals. I will try to combine that and the 
partwriter.ly<http://partwriter.ly> in a tool. What should it do:
- take all chords apart and save the intervals in an array:
with 4 voices chords, this will be 6 intervals per chord:
SB (Soprano Basso)
SA (Soprano Alto)
ST (Soprano Tenor)
AT (Alto Tenor)
AB (Alto Basso)
TB  (Tenor Basso)
numbering intervals per half step: 1, 2, . 12

Compare the intervals of two consecutive chords
and search for issues:
examples:
- are there two voices with consecutive fifths (intervals are   both 8)
- are there two voices with consecutive octaves (ntervals are both 12)
etc.

If so, colour the noteheads

Applying this tool would help to check if I overlooked issues.

If a tool like that already exists? would be great :-)

Eef





Op 16 jul. 2023, om 10:33 heeft Vaughan McAlley 
mailto:vaug...@mcalley.net.au>> het volgende geschreven:

I wrote a script in Lua to check MIDI files for consecutives. It assumes one 
voice per track, so may not suit your needs for figured bass. I need to make it 
more user-friendly, but would be happy to do so if anyone is interested.

Congratulations to Thomas Tallis for having no consecutive fifths at all in 
Spem in alium!

Vaughan


On Sat, 15 Jul 2023 at 07:13, Eef Weenink 
mailto:h.e.ween...@de-erve.nl>> wrote:
Maybe somebody already made a script for this:

In figured bass there are two fundamental rules: Avoid parallell octaves and or 
fifhts.
So it would be nice to have some scipts what checks for this. So if two voices 
have a distance of a fifth or octave, the next chord is checked if the same two 
voices have a fifth or octave too. If so, they are parallel.

Any ideas, suggestions?

regards, Eef

Re: detecting parallel fifths and octaves in figured bass

[Eef Weenink]

Op 16 jul. 2023, om 10:33 heeft Vaughan McAlley 
mailto:vaug...@mcalley.net.au>> het volgende geschreven:

I wrote a script in Lua to check MIDI files for consecutives. It assumes one 
voice per track, so may not suit your needs for figured bass. I need to make it 
more user-friendly, but would be happy to do so if anyone is interested.

Congratulations to Thomas Tallis for having no consecutive fifths at all in 
Spem in alium!

Vaughan


On Sat, 15 Jul 2023 at 07:13, Eef Weenink 
mailto:h.e.ween...@de-erve.nl>> wrote:
Maybe somebody already made a script for this:

In figured bass there are two fundamental rules: Avoid parallell octaves and or 
fifhts.
So it would be nice to have some scipts what checks for this. So if two voices 
have a distance of a fifth or octave, the next chord is checked if the same two 
voices have a fifth or octave too. If so, they are parallel.

Any ideas, suggestions?

regards, Eef

detecting parallel fifths and octaves in figured bass

[Eef Weenink]

Maybe somebody already made a script for this: 

In figured bass there are two fundamental rules: Avoid parallell octaves and or 
fifhts. 
So it would be nice to have some scipts what checks for this. So if two voices 
have a distance of a fifth or octave, the next chord is checked if the same two 
voices have a fifth or octave too. If so, they are parallel. 

Any ideas, suggestions? 

regards, Eef

Re: Drafting a medley

[Eef Weenink]

I would use arranger.ly. https://github.com/gilles-th/arranger.ly

Verzonden vanuit Outlook voor iOS

Van: lilypond-user-bounces+h.e.weenink=de-erve...@gnu.org 
 namens Stephan Schöll 

Verzonden: Sunday, April 9, 2023 1:07:47 PM
Aan: lilypond-user 
Onderwerp: Drafting a medley

Hi all

Let's assume I have 2 LP files, each with a reasonably simple piano
piece (one or two voices per system). (Those could also be scores of
entire arrangements, but let's assume they have the same structure
voice-/system-/staff-/score-wise.)

I'd like to create a draft of a medley from those. Basically I'd like to
grab a scissor, cut portions from those 2 scores and paste them in a
given order.

Certainly I'd include the 2 source files into the medley ly-file. I know
that there is the quote feature. But this seems to work on a very low
level, on notes, voices, but not across voices, systems, staves. As far
as I understand when using the quote feature I need to define almost
each an every part of my source files as a quote, and "paste" many small
snippets into the medley score.

Do you know of a way to "cut" snippets out of entire scores or staves
and reuse them?

TIA Stephan

Re: Organising files/variables/ in lilypond

[Eef Weenink]

Dear Valentin,

I have been playing with the libary PartManager.ly<http://PartManager.ly>.
And was able to change some things, I understand a bit (not much) more about 
how it could work.
I hope it was enough to make my question more clear/understandable.
For example I have this file:
%
\version "2.24.1"

global = {
 \key c \major
 \time 4/4
}

naam = "song 1"
flute = \relative c'' {
 \global
 c4 d e f
 % Muziek volgt hier.
}

\score {
 \header { piece =  \markup {\naam}}
 \new Staff
 \flute
 \layout { }
}


naam = "song 2"
flute = \relative c'' {
 \global
 d8 e f g
 % Muziek volgt hier.
}

\score {
 \header { piece =  \markup {\naam}}
 \new Staff
 \flute
 \layout { }
}
%

I have two songs. So I just copy past the first half and then change name, 
notes, what is needed.
And as you see, I just re-use the same variable \flute. How simple can it be :-)
It would be nice if I could seperate this, so I can just  call it (example: 
doscorewithsong.
\score {
 \header { piece =  \markup {\naam}}
 \new Staff
 \flute
 \layout { }
}

The actual file is more complicated, but that is what I try to achieve.
Using your partmanager.ly<http://partmanager.ly> the variable is just 
overwritten, so I only see the last input
Hope my question is a bit more clear this way,

Regards, Eef




Op 7 apr. 2023, om 23:34 heeft Valentin Petzel 
mailto:valen...@petzel.at>> het volgende geschreven:

Hello Eef,

if I understand you correctly you essentially want to put the content of a
Lilypond file into a variable and evaluate that. This is not possible with
Lilypond as such, but instead you can avoid Lilypond syntax and directly use
the scheme hooks.

Instead of doing

all = ...

you can have a scheme function do

(set! all ...)

(but for this to work you need to have the binding "all" existing before by
doing #(define all #f) (or any other value).

Instead of simply creating a \score ... and let the parser delegate this to
the correct hook you can pass scores directly via scheme by doing

(add-score #{ \score { ... } #})

Generally there are many ways to do things, and we’d need to know more about
your specific situation to be able to elaborate a good solution.

Recently I did a mass for which I created a small framework which allows me to
first register parts and such by doing

\registerPart partname
\partSetTitle partname "Title"

\partSetStaff partname staffname { music }
...

and then when needed do

\partPrint name layoutfunction

to create a specific score or

\printParts layoutfunction

to print all scores.

layoutfunction is then a function taking partname and creating the desired
score.

I’d then have a folder "layouts" specifying layout functions, a folder
"styles" specifying stylesheets, and a folder of files registering scores, and
one or multiple masters reading these files and printing scores with one or
multiple layout functions.

I’ve included the core library and an example layout function. Maybe this
approach could be useful for you (I’ve also sent this to the list not too long
ago).

Cheers,
Valentin

Am Freitag, 7. April 2023, 16:11:43 CEST schrieb Eef Weenink:
I have this project: I make arrangements of figured bass pieces.
(Generalbass Wolf). In total 100 pieces. Uptill now I organised it this
way:
- 1 file with all pieces in it (I did about 10, 90 to go).
The file starts with an include of a startup.ily, with some settings for the
whole book then the first piece.
I include a file (arrangeit.ily) to change the music into several voices,
etcetera using arranger.ly<http://arranger.ly><http://arranger.ly>. I add some 
lines to change
1-2 voices a bit using also arranger.ly<http://arranger.ly><http://arranger.ly> 
then I include
a file (Generalbassmakescore.ily with the settings to create the score.
Second piece (with the same variablenames!)
and repeat the includes like mentioned above.
etcetera.

It works, looks well. At the end I have 1 file with alle the pieces and 3-4
files to do small jobs, It is not fast.

But somehow I have the idea this could be easier/better. But how?
- One idea would be to put all pieces in separate files and include this in
one file with all jobs: arranging, extra changes, create voice/score. But
then I will have 101 files

Most easy would be to create a file with procedures I need, include the file
and call the procedures when needed. . But how? Lilypond does not have
procedures (as far I know?). Using functions gives lots of errors.
I tried it with variables, but no luck either.

I try to put these lines in a variable/function/procedures (as an example):
What to do, to make lilypond use the lines between {} simply as a
replacement of the variable?

arrangeit = {
%- verwerking---
all = #'(pright pleft  soprano alto tenor bass viola contrabas soprano)
#(init all)

#(begin
  ;;pianopartij
 (rm 'pright '(1-4)   (re

Re: Organising files/variables/ in lilypond

[Eef Weenink]

Thank you, Valentin, 

Specially for the examples, I will study, experiment with them and see how I 
can learn how to solve my issues this way. 
Regards, Eef 

> Op 7 apr. 2023, om 23:34 heeft Valentin Petzel  het 
> volgende geschreven:
> 
> Hello Eef,
> 
> if I understand you correctly you essentially want to put the content of a 
> Lilypond file into a variable and evaluate that. This is not possible with 
> Lilypond as such, but instead you can avoid Lilypond syntax and directly use 
> the scheme hooks.
> 
> Instead of doing
> 
> all = ...
> 
> you can have a scheme function do
> 
> (set! all ...)
> 
> (but for this to work you need to have the binding "all" existing before by 
> doing #(define all #f) (or any other value).
> 
> Instead of simply creating a \score ... and let the parser delegate this to 
> the correct hook you can pass scores directly via scheme by doing
> 
> (add-score #{ \score { ... } #})
> 
> Generally there are many ways to do things, and we’d need to know more about 
> your specific situation to be able to elaborate a good solution.
> 
> Recently I did a mass for which I created a small framework which allows me 
> to 
> first register parts and such by doing
> 
> \registerPart partname
> \partSetTitle partname "Title"
> 
> \partSetStaff partname staffname { music }
> ...
> 
> and then when needed do
> 
> \partPrint name layoutfunction
> 
> to create a specific score or
> 
> \printParts layoutfunction
> 
> to print all scores.
> 
> layoutfunction is then a function taking partname and creating the desired 
> score.
> 
> I’d then have a folder "layouts" specifying layout functions, a folder 
> "styles" specifying stylesheets, and a folder of files registering scores, 
> and 
> one or multiple masters reading these files and printing scores with one or 
> multiple layout functions.
> 
> I’ve included the core library and an example layout function. Maybe this 
> approach could be useful for you (I’ve also sent this to the list not too 
> long 
> ago).
> 
> Cheers,
> Valentin
> 
> Am Freitag, 7. April 2023, 16:11:43 CEST schrieb Eef Weenink:
>> I have this project: I make arrangements of figured bass pieces.
>> (Generalbass Wolf). In total 100 pieces. Uptill now I organised it this
>> way:
>> - 1 file with all pieces in it (I did about 10, 90 to go).
>> The file starts with an include of a startup.ily, with some settings for the
>> whole book then the first piece.
>> I include a file (arrangeit.ily) to change the music into several voices,
>> etcetera using arranger.ly<http://arranger.ly>. I add some lines to change
>> 1-2 voices a bit using also arranger.ly<http://arranger.ly> then I include
>> a file (Generalbassmakescore.ily with the settings to create the score.
>> Second piece (with the same variablenames!)
>> and repeat the includes like mentioned above.
>> etcetera.
>> 
>> It works, looks well. At the end I have 1 file with alle the pieces and 3-4
>> files to do small jobs, It is not fast.
>> 
>> But somehow I have the idea this could be easier/better. But how?
>> - One idea would be to put all pieces in separate files and include this in
>> one file with all jobs: arranging, extra changes, create voice/score. But
>> then I will have 101 files
>> 
>> Most easy would be to create a file with procedures I need, include the file
>> and call the procedures when needed. . But how? Lilypond does not have
>> procedures (as far I know?). Using functions gives lots of errors.
>> I tried it with variables, but no luck either.
>> 
>> I try to put these lines in a variable/function/procedures (as an example):
>> What to do, to make lilypond use the lines between {} simply as a
>> replacement of the variable?
>> 
>> arrangeit = {
>> %- verwerking---
>> all = #'(pright pleft  soprano alto tenor bass viola contrabas soprano)
>> #(init all)
>> 
>> #(begin
>>   ;;pianopartij
>>  (rm 'pright '(1-4)   (rel 1 'melody) )
>>  (rm 'pleft '(1-4)   (rel  'bassline) )
>> 
>> ;; koorpartijen
>> ;; sopraan
>>  (rm 'soprano '(1-4) (note 1 (rel   'melody) ))
>> ;;alt
>>  (rm 'alto '(1-4)   (note 2  (rel  1 'melody)) )
>> ;; tenor
>>  (rm 'tenor '(1-4) (note 3 (rel 1 'melody) ))
>> ;; bass
>>  (rm 'bass '(1-4)  (rel  'bassline) )
>> ;;ciontrabass
>>  (rm 'contrabas ' (1-4)  (rel  'bassline) )
>> )
>> }
>> 
>> Eef
> 
> 

Organising files/variables/ in lilypond

[Eef Weenink]

I have this project: I make arrangements of figured bass pieces. (Generalbass 
Wolf). In total 100 pieces.
Uptill now I organised it this way:
- 1 file with all pieces in it (I did about 10, 90 to go).
The file starts with an include of a startup.ily, with some settings for the 
whole book
then the first piece.
I include a file (arrangeit.ily) to change the music into several voices, 
etcetera using arranger.ly.
I add some lines to change 1-2 voices a bit using also 
arranger.ly
then I include a file (Generalbassmakescore.ily with the settings to create the 
score.
Second piece (with the same variablenames!)
and repeat the includes like mentioned above.
etcetera.

It works, looks well. At the end I have 1 file with alle the pieces and 3-4 
files to do small jobs, It is not fast.

But somehow I have the idea this could be easier/better. But how?
- One idea would be to put all pieces in separate files and include this in one 
file with all jobs: arranging, extra changes, create voice/score. But then I 
will have 101 files

Most easy would be to create a file with procedures I need, include the file 
and call the procedures when needed. . But how? Lilypond does not have 
procedures (as far I know?).
Using functions gives lots of errors.
I tried it with variables, but no luck either.

I try to put these lines in a variable/function/procedures (as an example):
What to do, to make lilypond use the lines between {} simply as a replacement 
of the variable?

arrangeit = {
%- verwerking---
all = #'(pright pleft  soprano alto tenor bass viola contrabas soprano)
#(init all)

 #(begin
   ;;pianopartij
  (rm 'pright '(1-4)   (rel 1 'melody) )
  (rm 'pleft '(1-4)   (rel  'bassline) )

;; koorpartijen
;; sopraan
  (rm 'soprano '(1-4) (note 1 (rel   'melody) ))
;;alt
  (rm 'alto '(1-4)   (note 2  (rel  1 'melody)) )
;; tenor
  (rm 'tenor '(1-4) (note 3 (rel 1 'melody) ))
;; bass
  (rm 'bass '(1-4)  (rel  'bassline) )
;;ciontrabass
  (rm 'contrabas ' (1-4)  (rel  'bassline) )
)
}

Eef

Re: Tutorial on writing lilypond functions?

[Eef Weenink]

Found: https://extending-lilypond.gitlab.io/en/scheme/functions.html
I go from there.

Op 6 apr. 2023, om 08:38 heeft Eef Weenink 
mailto:h.e.ween...@de-erve.nl>> het volgende geschreven:

Using arranger.ly<http://arranger.ly/> (thanks to Gilbert :-)) I am now at the 
point I want to automate more. And next step is probably working with scheme 
functions. Using https://lsr.di.unimi.it/LSR/Item?id= as a starter.

As soon I try to change something I run into the fact that I don't know enough 
about writing the function. So searching for a tutorial, examples, manual to 
get a better start?

Where should I go?

Regards, Eef

Tutorial on writing lilypond functions?

[Eef Weenink]

Using arranger.ly (thanks to Gilbert :-)) I am now at the 
point I want to automate more. And next step is probably working with scheme 
functions. Using https://lsr.di.unimi.it/LSR/Item?id= as a starter.

As soon I try to change something I run into the fact that I don't know enough 
about writing the function. So searching for a tutorial, examples, manual to 
get a better start?

Where should I go?

Regards, Eef

Re: Ross’s rules

[Eef Weenink]

Thank you!

Verzonden vanuit Outlook voor iOS<https://aka.ms/o0ukef>

Van: Pierre Perol-Schneider 
Verzonden: Thursday, December 22, 2022 7:39:34 AM
Aan: Eef Weenink 
CC: Abraham Lee ; Kieren MacMillan 
; Jean Abou Samra ; Werner 
LEMBERG ; Lilypond-User Mailing List 
Onderwerp: Re: Ross’s rules

Hi Eef,
See : 
https://lilypond.org/doc/v2.23/Documentation/essay/short-literature-list.html
Cheers,
Pierre

Le jeu. 22 déc. 2022 à 07:29, Eef Weenink 
mailto:h.e.ween...@de-erve.nl>> a écrit :
Always interested in new (for me new) sources of knowledge:
"What are the  Ross’s rules?"

Regards, Eef

Op 21 dec. 2022, om 22:21 heeft Abraham Lee 
mailto:tisimst.lilyp...@gmail.com>> het volgende 
geschreven:

 Ross’s rules

RE: Ross’s rules

[Eef Weenink]

Always interested in new (for me new) sources of knowledge:
"What are the  Ross’s rules?"

Regards, Eef

Op 21 dec. 2022, om 22:21 heeft Abraham Lee 
mailto:tisimst.lilyp...@gmail.com>> het volgende 
geschreven:

 Ross’s rules

Re: Contacting Wilbert

[Eef Weenink]

Wilbert has a website: https://wilbertberendsen.nl/contact/
Maybe this helps. Regards, Eef
Contactinformatie – Wilbert Berendsen
E-mail: info at wilbertberendsen.nl (bij voorkeur digitaal ondertekend). 
Facebook: facebook.com/wberendsen (ik gebruik de Messenger niet) Github (mijn 
open source ...
wilbertberendsen.nl


Van: lilypond-user-bounces+h.e.weenink=de-erve...@gnu.org 
 namens Jean Abou Samra 

Verzonden: vrijdag 11 november 2022 16:45
Aan: David Kastrup 
CC: Andrew Bernard ; lilypond-user@gnu.org 

Onderwerp: Re: Contacting Wilbert


> Le 11 nov. 2022 à 15:49, David Kastrup  a écrit :
>
> That looks like contacting him for a transfer of responsibilities
> (provisional or more permanent) might have a better chance for a
> response than wanting him to fix stuff on the software side.




That is exactly what I did, actually, but with no response so far.

Best,
Jean

Re: Solfege Syllables Easy Notes

[Eef Weenink]

Yes, takadimi (kind of esperanto made of konnakal, kodaly and others.

http://www.takadimi.net/documents/Takadimi%20short%20guide%20for%20Web.pdf

Op 9 okt. 2022, om 17:57 heeft Craig Bakalian 
mailto:craigbakal...@gmail.com>> het volgende 
geschreven:

If you really want to muse, muse about rhythm syllables.   Kodaly rhythm 
syllables are iffy.  Gordon syllables have syntax and account for unusual 
meters.

Re: Extended bar checking?

[Eef Weenink]

may this also be used in 2.22.2. ?

Now I errors :-(

regards, Eef

Op 18 sep. 2022, om 22:16 heeft Mats Bengtsson 
mailto:matsboxergr...@gmail.com>> het volgende 
geschreven:


Brilliant! This will be in an include file that I will use for all my future 
projects (until it gets included in the LilyPond distribution).

/Mats

On 2022-09-18 21:33, Jean Abou Samra wrote:


Le 18/09/2022 à 20:32, Mats Bengtsson a écrit :

Hi,

I've been pondering about a missing feature in LilyPond, namely the possibility 
to get a warning printout if there isn't an explicit bar check ("|") in the 
input file at the end of each measure. This would catch many of the typos I 
personally do when entering music, where I happen to forget to change a 
duration, or enter the wrong duration, so that the current default duration 
happens to be, say, double the correct duration.

Example: Let's say I want to type

\relative c' {
c4 d e2 |
g1 |
g4 f e d |
c1
}
but forget to add the duration "4" in the third measure:\relative c' {
c4 d e2 |
g1 |
g f e d |
c1
}
Obviously, this will not give any bar check warning, but if there was a 
possibility to get a warning also for missing bar checks, I would immediately 
catch those mistakes. This feature should not be on by default, but for those 
of us who consequently add bar checks in the input files, it would be extremely 
helpful.

In another email thread today, Valentine provided an implementation of a 
Bar_check_warning_egraver is somewhat along the same lines, but that 
unfortunatly fails to catch the typo in the above example since it only detects 
notes  where the duration crosses a bar line. As far as I can see, the idea of 
Valentine's implementation cannot easily be extended to do what I'm after and 
it's not immediately obvious to me how hard it would be to implement it. 
Perhaps some of you clever LilyPond hackers on the list have an idea, otherwise 
I will send it as a feature request to the bug list.





Yes, it can be done.



\version "2.23.13"

#(define-event-class 'event 'StreamEvent) % cough

"|" = { | #(make-music 'Event 'is-bar-check #t) }

#(define (Require_bar_check_engraver context)
   (let ((heard #f)
 (previous-rhythmic-ev #f)
 (now-rhythmic-ev #f))
 (make-engraver
  (listeners
   ((event engraver event)
(when (ly:event-property event 'is-bar-check #f)
  (set! heard #t)))
   ((rhythmic-event engraver event)
(set! now-rhythmic-ev event)))
  ((stop-translation-timestep engraver)
   (when (and (not heard)
  (ly:context-property context 'measureStartNow #f))
 (if previous-rhythmic-ev
 (ly:event-warning previous-rhythmic-ev "missing bar check after 
this note/rest")
 ;; maybe \skip , for which it is hard to get a location
 (ly:warning "missing bar check at end of measure ~a"
 (1- (ly:context-property context 'currentBarNumber)
   (set! heard #f)
   (set! previous-rhythmic-ev now-rhythmic-ev)
   (set! now-rhythmic-ev #f)

\layout {
  \context {
\Voice
\consists #Require_bar_check_engraver
  }
}


\relative c' {
  c4 d e2 |
  g1 |
  g f e d | % notes wrongly entered
  s1 % missing bar check
  \skip {
c1 % missing bar check
c1
  } |
}




However, be aware of the limitations. This only checks that
in each voice, there is a bar check at every measure end.
It does not check that every component of the music generating
this voice has this bar check. For example, this gets accepted
without warning:

\new Voice << { c'1 | d' | e' | } { e'1 f' g' } >>


To my knowledge, it's not possible to also warn about this one without
some serious modifications in LilyPond's internals.

Jean

Re: function to recognise voice crossings?

[Eef Weenink]

PS; I you might change the engraver, consider to NOT colour equal notes. (or 
make it an option). Equal notes do not harm the harmonic line. (for seeing 
where the lowest notes are, it might be set to #t).

Eef

Op 17 sep. 2022, om 10:28 heeft Lukas-Fabian Moser 
mailto:l...@gmx.de>> het volgende geschreven:

Ah, thanks, I hadn't considered the possibility of using solo tuning. Sorry for 
the noise.
(I don't think my engraver currently supports setting \transposition to 
accommodate for solo tuning, though.)

Lukas

Eef Weenink mailto:h.e.ween...@de-erve.nl>> schrieb am 
Fr., 16. Sept. 2022, 22:05:
PS: The double bass is in solo tuning (major second above normal) so the score 
for the double bass is written a major second down) so you hear the correct 
pitches.
Purcell (original) is in D minor (1 flat) and the double bass score has 3 flats 
(C minor)

PS2, in fact to do the real check, I have to also transpose the double score 1 
octave down, because the double bass is written 1 octave higher then sounding.

regards, Eef


Op 16 sep. 2022, om 21:47 heeft Lukas-Fabian Moser 
mailto:l...@gmx.de>> het volgende geschreven:


Hi Eef,

Am 16.09.22 um 21:22 schrieb Eef Weenink:
Great, it does exactly what I need, see image. (red noteheads are the lowest in 
score)!
So on this spot I have to lower the bassline in the left hand of piano.


I'm glad it helps!

But there's something strange, as the f-e cadenza in the melody doesn't really 
fit the f major cadenza in the piano.

I looked up Purcell's original (thanks for including the text, otherwise I 
wouldn't have recognized it): The final note of the melody line should coincide 
(up to octave) with the final note of the piano left hand. So it seems 
something's wrong in your score (unless you have some quite unusual clefs, but 
then again, the red markings seem to indicate that melody and piano left hand 
are both written in bass clef).

Could you maybe post your full score so I could take a look?

Lukas

Re: function to recognise voice crossings?

[Eef Weenink]

Not needed in the engraver. I have a alltoolsineedfordb.ly with functions for 
that, so just by adding/removing a % I can use them.
For finding good harmonic solutions it is most easy to see both lines in the 
same key/clef.


Met vriendelijke groet, Eef

H.E. Weenink MBA

Op 17 sep. 2022 om 10:28 heeft Lukas-Fabian Moser  het volgende 
geschreven:


Ah, thanks, I hadn't considered the possibility of using solo tuning. Sorry for 
the noise.
(I don't think my engraver currently supports setting \transposition to 
accommodate for solo tuning, though.)

Lukas

Eef Weenink mailto:h.e.ween...@de-erve.nl>> schrieb am 
Fr., 16. Sept. 2022, 22:05:
PS: The double bass is in solo tuning (major second above normal) so the score 
for the double bass is written a major second down) so you hear the correct 
pitches.
Purcell (original) is in D minor (1 flat) and the double bass score has 3 flats 
(C minor)

PS2, in fact to do the real check, I have to also transpose the double score 1 
octave down, because the double bass is written 1 octave higher then sounding.

regards, Eef


Op 16 sep. 2022, om 21:47 heeft Lukas-Fabian Moser 
mailto:l...@gmx.de>> het volgende geschreven:


Hi Eef,

Am 16.09.22 um 21:22 schrieb Eef Weenink:
Great, it does exactly what I need, see image. (red noteheads are the lowest in 
score)!
So on this spot I have to lower the bassline in the left hand of piano.


I'm glad it helps!

But there's something strange, as the f-e cadenza in the melody doesn't really 
fit the f major cadenza in the piano.

I looked up Purcell's original (thanks for including the text, otherwise I 
wouldn't have recognized it): The final note of the melody line should coincide 
(up to octave) with the final note of the piano left hand. So it seems 
something's wrong in your score (unless you have some quite unusual clefs, but 
then again, the red markings seem to indicate that melody and piano left hand 
are both written in bass clef).

Could you maybe post your full score so I could take a look?

Lukas

Re: function to recognise voice crossings?

[Eef Weenink]

PS: The double bass is in solo tuning (major second above normal) so the score 
for the double bass is written a major second down) so you hear the correct 
pitches.
Purcell (original) is in D minor (1 flat) and the double bass score has 3 flats 
(C minor)

PS2, in fact to do the real check, I have to also transpose the double score 1 
octave down, because the double bass is written 1 octave higher then sounding.

regards, Eef


Op 16 sep. 2022, om 21:47 heeft Lukas-Fabian Moser 
mailto:l...@gmx.de>> het volgende geschreven:


Hi Eef,

Am 16.09.22 um 21:22 schrieb Eef Weenink:
Great, it does exactly what I need, see image. (red noteheads are the lowest in 
score)!
So on this spot I have to lower the bassline in the left hand of piano.


I'm glad it helps!

But there's something strange, as the f-e cadenza in the melody doesn't really 
fit the f major cadenza in the piano.

I looked up Purcell's original (thanks for including the text, otherwise I 
wouldn't have recognized it): The final note of the melody line should coincide 
(up to octave) with the final note of the piano left hand. So it seems 
something's wrong in your score (unless you have some quite unusual clefs, but 
then again, the red markings seem to indicate that melody and piano left hand 
are both written in bass clef).

Could you maybe post your full score so I could take a look?

Lukas

Re: function to recognise voice crossings?

[Eef Weenink]

Great, it does exactly what I need, see image. (red noteheads are the lowest in 
score)!
So on this spot I have to lower the bassline in the left hand of piano.
[cid:29D04ECB-8577-4403-99DE-D62C6AC64E40]


Op 16 sep. 2022, om 18:55 heeft Lukas-Fabian Moser 
mailto:l...@gmx.de>> het volgende geschreven:

Hi Eef,

Am 16.09.22 um 13:53 schrieb Eef Weenink:
I write mostly arrangements where I bring a melody voice down to the double 
bass (my instrument :-))

Double bass is written an octave higher then sounding, so a lot of times, the 
score lookes OK, but in fact there are voice crossings between lefthand of 
piano and the double bass (what gives unwanted/unpleasant voice crossings.

To check this, I transpose the double bass voice down an octave and manually 
check the boths voices.

Wonder if there is a function in lilypond to do this fastly. Like the coloured 
noteheads when checking a voice against the ambitus of an instrument.

This reminds me of a function I wrote last year to automatically colourise the 
lowest sounding pitch in a score. (In my case, this was for harmonic analysis 
of canons.) See attached.

Maybe this could be used or at least adapted?

Lukashttp://lowest-notes.ly>>

Re: function to recognise voice crossings?

[Eef Weenink]

I will check this. Thanks


Met vriendelijke groet, Eef

H.E. Weenink MBA

Op 16 sep. 2022 om 18:56 heeft Lukas-Fabian Moser  het volgende 
geschreven:

Hi Eef,

Am 16.09.22 um 13:53 schrieb Eef Weenink:
I write mostly arrangements where I bring a melody voice down to the double 
bass (my instrument :-))

Double bass is written an octave higher then sounding, so a lot of times, the 
score lookes OK, but in fact there are voice crossings between lefthand of 
piano and the double bass (what gives unwanted/unpleasant voice crossings.

To check this, I transpose the double bass voice down an octave and manually 
check the boths voices.

Wonder if there is a function in lilypond to do this fastly. Like the coloured 
noteheads when checking a voice against the ambitus of an instrument.

This reminds me of a function I wrote last year to automatically colourise the 
lowest sounding pitch in a score. (In my case, this was for harmonic analysis 
of canons.) See attached.

Maybe this could be used or at least adapted?

Lukas


lowest-notes.ly
Description: lowest-notes.ly

Re: function to recognise voice crossings?

[Eef Weenink]

This is not the question. It is about voice crossing bassline (left hand piano) 
and melodyline (double bass). That gives inversions, mostly not wanted. 
So these need to be identified. 


Met vriendelijke groet, Eef

H.E. Weenink MBA

> Op 16 sep. 2022 om 18:25 heeft Wols Lists  het 
> volgende geschreven:
> 
> Or just use the "correct" clef :-)
> 
> The trombone is written a ninth higher than sounding, so I transpose it down 
> a second (to deal with the B-flat-ness) and then use the treble_8 clef to 
> print it correctly.
> 
> That way, all your notes are correct, both as regards lily's internal pitch, 
> and as they appear on the page.

function to recognise voice crossings?

[Eef Weenink]

Hello all, 

I write mostly arrangements where I bring a melody voice down to the double 
bass (my instrument :-)) 

Double bass is written an octave higher then sounding, so a lot of times, the 
score lookes OK, but in fact there are voice crossings between lefthand of 
piano and the double bass (what gives unwanted/unpleasant voice crossings. 

To check this, I transpose the double bass voice down an octave and manually 
check the boths voices. 

Wonder if there is a function in lilypond to do this fastly. Like the coloured 
noteheads when checking a voice against the ambitus of an instrument. 

Regards, Eef 

Re: How to enlarge the entire Lilypond output (pdf)

[Eef Weenink]

I recognize the issue. My working method:

1. In lilypond I go for the best options, like staffsize, number of systems per 
page, number of pages, etcetera. 
2.  On the iPad I have Forscore for practicing music. To get the best view on 
about 2-3 feet distance, I use the crop function to minimize the white around 
the music. 
3. If needed I export this pdf for printing on paper A4 or A3 sized. 

Best results in not too much time. 


Met vriendelijke groet, Eef

H.E. Weenink MBA

> Op 16 sep. 2022 om 02:59 heeft David Wright  het 
> volgende geschreven:
> 
> On Thu 15 Sep 2022 at 16:50:30 (-0700), Kenneth Wolcott wrote:
>> 
>>  Perhaps I'm not searching the Lilypond documentation wisely, but I do not
>> see a way to enlarge the entire Lilypond output in scale (staff, notes,
>> text, everything).
> 
> Everything? including the paper?
> 
>>  Perhaps I have to modify the pdf itself?  If so, does that decrease the
>> clarity/precision of the presentation?
> 
> Yes, if you want to make the music larger on each page, with
> fewer measures/line and lines/page, and using more pages.
> 
> #(set-global-staff-size 20.0)   is the default. Increase or
> decrease accordingly.
> 
>>  I'd like to control this globally, and, preferably, externally.
> 
> Oh, scratch the previous paragraph. Just find a viewer that's
> able to increase and decrease the magnification. (Don't they all?)
> 
>>  My wife is trying to use the Lilypond pdf that I generate on her iPad and
>> sometimes she tries to resize (enlarge) it and that fails.
> 
> That suggests that it's not obvious how you should be controlling
> your viewer. Tyically, you'd put your fingers on the screen and
> slide them apart to expand the display, or you'd select
> magnification factors from a menu (or, as I do, have predefined
> keystrokes, 0–9, z, h, w, that set preferred magnifications,
> 100–2000%, fit to page, height, or width).
> 
> So it depends on which you and your wife want.
> 
> Cheers,
> David.
> 

Re: Score vs. Individual Parts

[Eef Weenink]

Gilles Thibout made a very well lilypond library what handles all you are 
asking for.

https://github.com/gilles-th/arranger.ly

It has a steep learning line(at least my experience). Once the notes of your 
composition are written down, you do not need to copy them again.

Check it out, it might be what you need.

Met vriendelijke groet, Eef

H.E. Weenink MBA

Op 12 sep. 2022 om 19:28 heeft Greg Lindstrom  het 
volgende geschreven:


I have created my first full score for brass band and euphonium solo using 
Lilypond (and Frescobaldi). The score looks wonderful; I've had it bound at a 
local print shop and it looks downright professional. There are a number of 
things to correct and I've created an issue for each and will correct them and 
reengrave. Being a professional computer programmer, I went to the trouble of 
checking everything into a code repository (github) to ensure I can track all 
my changes and not lose all this work if my computer decides to die.

I've ordered the Lilypond manual from Lulu and plan to read through it to learn 
more about Lilypond; I do much better with printed media rather than 
electronic. but have questions:

  1.  I'd like to place line and page breaks in the individual parts. Being a 
player, I appreciate when consideration is taken as to where page breaks fall. 
I have individual files for each part with the "notes" in a separate file and 
the score bringing everything together. Is it possible to place breaks in the 
part so it does not affect the score?
  2.  The score looks best on 11" x 17" paper but the first print shop I 
contacted could not spiral bind anything that large (I found another shop which 
could do it and I'm glad I did). I set the paper size in the score to 8.5" x 
11" and while things can fit, it is extremely cramped. Is there a setting to 
reduce the size of everything (staves, notes, dynamics, etc.) as I reduce the 
paper size?
  3.  On the individual part, I'd like to place the instrument name in the 
upper left corner of the page. Currently, it is on the first staff.
  4.  Can I place a header on the second and following pages which would show 
the title and page number of the piece in a smaller font than the first page?

Perhaps all of this is in the manual which will be arriving in the next few 
days. But any help or direction would be greatly appreciated.

Thanks for your help. I hope to start writing code snippets and answering 
questions as I gain more experience.

---greg

Re: docs about Rest vertical position

[Eef Weenink]

Just a simple example. Could be the start of a minimal music thing.

violin = \relative c'' {
  c16 d e f] g [a b c]
  c,16 [d\rest e f] g [a b c]
  c,16 [d e\rest f] g [a b c]
  c,16 [d e f\rest ] g [a b c]
  c,16 [d e f] g\rest [a b c]
  c,16 [d e f] g [a\rest b c]
  c,16 [d e f] g [a b\rest c]
  c,16 [d e f] g [a b c]
  \bar "|."
}

Vriendelijke groet, Eef

Op 3 sep. 2022, om 11:13 heeft Martín Rincón Botero 
mailto:martinrinconbot...@gmail.com>> het 
volgende geschreven:

Hi Eef,

When composing; arranging it happens often that a note is skipped (read: turned 
into a ‘rest’). Think about note patterns what repeat, with small variations. 
Then the note/rest does the job perfectly. The pattern is kept. The rest is 
exactly on the place the note would have been.

Would you mind putting a short example of what you mean? Also in which musical 
context? Jazz perhaps?

—Martín.


On Sep 2, 2022 at 9:44 PM, mailto:h.e.ween...@de-erve.nl>> wrote:

My two cents:

Tweaking the position is fine to avoid a collision or to keep a rest about the 
same “viewing” line then the notes of a phrase

But, or better And:
When composing; arranging it happens often that a note is skipped (read: turned 
into a ‘rest’). Think about note patterns what repeat, with small variations. 
Then the note/rest does the job perfectly. The pattern is kept. The rest is 
exactly on the place the note would have been.
In fact a very well musical solution.


Met vriendelijke groet, Eef

H.E. Weenink MBA

Op 2 sep. 2022 om 21:33 heeft Martín Rincón Botero 
mailto:martinrinconbot...@gmail.com>> het 
volgende geschreven:


Hi Kieren,

how do you think that this feature is more useful than \tweaking the y-offset? 
If the documentation explains how to move a rest, the officially recommended 
way should be using \tweak in my opinion. It's unclear to me what's the use 
case of the option of adding a note to a \rest (which in itself sounds like a 
contradiction). If we follow the WSIWYM paradigm, you can't possibly mean to 
put a "note-rest" somewhere. Perhaps not pointing that out or removing the 
feature altogether is better in the long run?

Martín.


On Sep 2, 2022 at 4:27 PM, mailto:kie...@kierenmacmillan.info>> wrote:


Hi all,

I was answering a user's question on the FB group, and noted that in the docs, 
we suggest

“To explicitly specify a rest’s vertical position, write a note followed by 
\rest.”

While this is a useful thing to know about, I don't personally believe it's a 
best practice: it mixes content with presentation, it doesn't play well with 
\transpose, etc.

I'm not necessarily suggesting that we avoid pointing out this feature. I'm 
just wondering if anyone else agrees that we should point out the downsides, 
and give alternative ways of accomplishing the same task? If so, I can put 
together some draft verbiage for a discussion starting point.

Cheers,
Kieren.

Re: docs about Rest vertical position

[Eef Weenink]

My two cents:

Tweaking the position is fine to avoid a collision or to keep a rest about the 
same “viewing” line then the notes of a phrase

But, or better And:
When composing; arranging it happens often that a note is skipped (read: turned 
into a ‘rest’). Think about note patterns what repeat, with small variations. 
Then the note/rest does the job perfectly. The pattern is kept. The rest is 
exactly on the place the note would have been.
In fact a very well musical solution.


Met vriendelijke groet, Eef

H.E. Weenink MBA

Op 2 sep. 2022 om 21:33 heeft Martín Rincón Botero 
 het volgende geschreven:


Hi Kieren,

how do you think that this feature is more useful than \tweaking the y-offset? 
If the documentation explains how to move a rest, the officially recommended 
way should be using \tweak in my opinion. It's unclear to me what's the use 
case of the option of adding a note to a \rest (which in itself sounds like a 
contradiction). If we follow the WSIWYM paradigm, you can't possibly mean to 
put a "note-rest" somewhere. Perhaps not pointing that out or removing the 
feature altogether is better in the long run?

Martín.


On Sep 2, 2022 at 4:27 PM, mailto:kie...@kierenmacmillan.info>> wrote:


Hi all,

I was answering a user's question on the FB group, and noted that in the docs, 
we suggest

“To explicitly specify a rest’s vertical position, write a note followed by 
\rest.”

While this is a useful thing to know about, I don't personally believe it's a 
best practice: it mixes content with presentation, it doesn't play well with 
\transpose, etc.

I'm not necessarily suggesting that we avoid pointing out this feature. I'm 
just wondering if anyone else agrees that we should point out the downsides, 
and give alternative ways of accomplishing the same task? If so, I can put 
together some draft verbiage for a discussion starting point.

Cheers,
Kieren.

Re: ANN: Frescobaldi 3.2

[Eef Weenink]

The text is AAN not ANN.

It is Dutch for “TO”. Any mailprogram using Dutch as regular as language will 
show “To” as “Aan”. 

Met vriendelijke groet, Eef

H.E. Weenink MBA

> Op 14 aug. 2022 om 03:27 heeft Andrew Bernard  
> het volgende geschreven:
> 
> Without wanting to sound like a pedantic pest, the Subject line prefix ANN: 
> is normally only used for program announcements such as a new release. I got 
> all excited because I thought you were announcing a new Frescobaldi release. 
> So it's misleading. No great harm, but just saying a bit about list usage.
> 
> 
> Andrew
> 
> 

Re: vertical shift of trill

[Eef Weenink]

Great file, thank you, love it. Eef

Op 5 aug. 2022, om 20:13 heeft Jean Abou Samra 
mailto:j...@abou-samra.fr>> het volgende geschreven:

If you prefer, there is another method available: use Joram Berger's "Visual 
LilyPond Index", available here:

https://github.com/joram-berger/visualindex

Just look for the symbol you want on the page and it gives you the name of the 
object.

Re: cannot find start of piano pedal: `Sustain'

[Eef Weenink]

\version "2.20.0"

upper = \relative c'' {
 \clef treble
 r2. \hideStaffSwitch\change Staff = "lower" r4*1/2 s8  |
}

lower = \relative c {
 \clef bass
 b8 ees, aes c, b  ees'   \showStaffSwitch\change Staff = "upper"  aes ees' |
}

\score {
 \new PianoStaff <<
   \new Staff = "upper" \upper
   \new Staff = "lower" \lower

   % Pedal indications may be placed in a Dynamics context, which aligns them 
on a horizontal line.
   %see https://lilypond.org/doc/v2.21/Documentation/notation/piano
\new Dynamics {
s4 s s8  \sustainOn
s4 s4  \sustainOff |
  }
 >>
  \midi { }
\layout { } % I have put layout in, so I would see something in the PDF.
}




Op 4 aug. 2022, om 20:23 heeft Jim Cline 
mailto:jcl...@physics.mcgill.ca>> het volgende 
geschreven:

p.s.  Isn't it also weird that the pedal-off symbol is not horizontally aligned 
with the pedal-on symbol?


On Thu, 4 Aug 2022, Jim Cline wrote:

I have a score where the sustain starts in the voice in the bass clef, and ends 
after the voice crosses into the treble clef.  It compiles but with a warning:  
cannot find start of piano pedal: `Sustain', with respect to the
sustainOff.  The warning goes away if I comment out midi{}.  However it would 
be nice to understand what is giving rise to the problem.  I tried keeping the 
sustainOff in the bass clef, despite the voice crossing, but this did not help.

Here is the measure in question:

\version "2.20.0"

upper = \relative c'' {
\clef treble
r2. \hideStaffSwitch\change Staff = "lower" r4*1/2 s8 \sustainOff |
}

lower = \relative c {
\clef bass
b8 ees, aes c, b \sustainOn ees' \showStaffSwitch\change Staff = "upper" aes 
ees' |
}

\score {
\new PianoStaff <<
  \new Staff = "upper" \upper
  \new Staff = "lower" \lower
>>
 \midi { }
}

regards, Jim

Re: The problem of Lilypond changing instrument and the issue of .ly converting to MIDI with a custom setting

[Eef Weenink]

I think the fastest way to learn this, is to study the templates available: 
https://lilypond.org/doc/v2.22/Documentation/snippets/templates

Choose one what looks like you want, copy paste it into your .ly
and then change small things % in front of a line, so you see what happens.

and keep what you want. Eef

Op 3 aug. 2022, om 15:15 heeft 柊希里子 
mailto:starlitnight0...@gmail.com>> het volgende 
geschreven:

\new StaffGroup \with { systemStartDelimiter =
#'SystemStartBrace }
<<
\new Staff
<<
\set Staff.instrumentName = "Violin"
\set Staff.midiInstrument = #"violin"

\context Staff = "1" <<
\mergeDifferentlyDottedOn\mergeDifferentlyHeadedOn
\context Voice = "PartPOneVoiceOne" {  \PartPOneVoiceOne }
>> \context Staff = "2" <<
\mergeDifferentlyDottedOn\mergeDifferentlyHeadedOn
\context Voice = "PartPOneVoiceThree" {  \voiceOne 
\PartPOneVoiceThree }
\context Voice = "PartPOneVoiceTwo" {  \voiceTwo 
\PartPOneVoiceTwo }
\context Voice = "PartPOneVoiceFour" {  \voiceThree 
\PartPOneVoiceFour }
>>
>>
>>

Re: Byzantine singing

[Eef Weenink]

Maybe interrelating for you.  There is. List of software included.

https://academia.edu/resource/work/37876233

Regards Eef

Verstuurd vanaf mijn iPad

Op 31 jul. 2022 om 21:56 heeft Лысов Дмитрий  het volgende 
geschreven:


Hi! I am studying Byzantine singing, which uses neumes to record melodies. Have 
you ever met a player or a converter of this notation into a five-line one in 
the lilypond program? Are there any developments on this topic at all?
Например посмотрите книгу по византийскому пению:
Langue N. "A guide to the music of the eastern orthodox church", 1984.
https://www.newbyz.org/guide_to_music_of_eoa.pdf

Re: Byzantine singing

[Eef Weenink]

One of them is https://www.ctan.org/pkg/byzantinemusic. In xelatex.
Eef

Verstuurd vanaf mijn iPad

Op 31 jul. 2022 om 21:56 heeft Лысов Дмитрий  het volgende 
geschreven:


Hi! I am studying Byzantine singing, which uses neumes to record melodies. Have 
you ever met a player or a converter of this notation into a five-line one in 
the lilypond program? Are there any developments on this topic at all?
Например посмотрите книгу по византийскому пению:
Langue N. "A guide to the music of the eastern orthodox church", 1984.
https://www.newbyz.org/guide_to_music_of_eoa.pdf

Re: question about arranger.ly, export notes as text.

[Eef Weenink]

Merci beaucoup!! 

> Op 1 aug. 2022, om 21:13 heeft Gilles Thibault  het 
> volgende geschreven:
> 
> Le 2022-07-30 22:46, Eef Weenink a écrit :
>> It gives error;
> 
> Ah yes damn, the latest version of arranger.ly has a bug on line 112. [(= n 
> 0) crashes when n is not a number)]
> I had reorganized this portion of code but I did not see this error because 
> it only impacts a very small number of functions (including 
> export-instruments!).
> Sorry about that.
> I uploaded the new version (see link below). As only arranger.ly is concerned 
> here is the direct link for this file.
> 
>   http://gillesth.free.fr/Lilypond/arranger.ly
> 
> I also very slightly modified your code so that it can adapt to arranger.ly
> Everything should be fine now
> 
> Good reception.
> 
> Links
> %%%
> 
> Github
> https://github.com/gilles-th/arranger.ly
> 
> Direct access :
> http://gillesth.free.fr/Lilypond/arranger-GIT-copy/arranger.ly.zip
> 
> %%%
> 
> export-instruments test
> %%%
> \version "2.22.0"
> 
> \include "arranger.ly"
> 
> \header {
>  title = "Romance Oubliée"
>  composer = "Liszt, Ferenc (1880)"
>  tagline = "Arrangement Eef Weenink"
> }
> 
> \paper {
>  #(set-paper-size "a4")
> }
> 
> \layout {
>  \context {
>\Voice
>\consists "Melody_engraver"
>\override Stem #'neutral-direction = #'()
>  }
> }
> 
> global = {
>  \key e \minor
>  % This function below does not yet exist in my version 2.22.0
>  %\twoCompoundMeters #'(9 8) #'(3 4)   % uncomment please
>  \time 9/8
>  \partial 4. s4.
>  s4.*3*18
>  %\twoCompoundMeters #'(6 8) #'(2 4)
>  \time 6/8
>  s4.*2*71
>  \bar "|."
> }
> 
> #(init '(viola)) % you have to call init before using other function ! (see 
> doc)
> 
> #(rm 'viola '(1 -4.) #{ \relative c' {
>  c8\downbow_( \mf ^\markup {\italic "Andante malinconico"} b a
>  e'4. \< f2. \! )  | % 1
>  r2.c8_( b a  | % 2
>  f'4. \< fis2. \! )  | % 3
>  r2. fis,8\downbow ( e dis | % 4
>  a' g fis ) c' (b a g fis a )| % 5
>  c (b a) dis\upbow (c b a b c) | % 6
>  dis ( e eis fis4 ) r8 g\upbow_"espr." ( fis e) | % 7
>  b'4.~ b8 b(  c b  \acciaccatura { d16 } c8 b)  | % 8
>  b4.\> ( fis4) \!  r8 fis( g \acciaccatura { b16 } a8)  | % 9
>  c,4.~ c8  b( \acciaccatura { d16} c8 b4 g'8)   | % 10
>  fis4.( e4) r8 g\upbow( fis e)   | % 11
>  b'4.~ b8 b(  c b  \acciaccatura { d16 } c8 b)  | % 12
>  b4.( e,4->) r8 es( b' a ) | % 13
>  a4. d,4 ( e!8 fis4 \tuplet 3/2 { e16 fis g) }  | % 14
>  fis4( e8 fis4) r8 es( b' a ) | % 15
>  a4. d,4 ( e!8 fis4 \tuplet 3/2 { e16_"dim." fis g) }  | % 16
>  fis4 \>( e8 fis2.) \! | % 17
>  R4.*3  | % 18
> 
>  R2.  | % 19
>  r4 r8 \p \  fis8 e dis) a'4. \> ^~ ^(  % 21
>  a8 [ g fis]) fis^--  \! r8 r
>  f4.\downbow(  \acciaccatura { a16} g4 fis8)  % 22
>  %verder met pagina 3
> } #})
> 
> #(export-instruments '(global viola) "exported-file.ly" #t)
> 
>  %
> 
> \score {
>  \new Staff \with {
>instrumentName = "Altviool"
>shortInstrumentName = "Avl."
>\consists "Merge_rests_engraver"
>printPartCombineTexts = ##f
>  }
> << \clef alto \global \viola >>
>  \layout { }
> }
> 
> 
> 
> 
> -- 
> Gilles

Re: question about arranger.ly, export notes as text.

[Eef Weenink]

I could solve my issue with the workaround:

\displayLilyMusic { \viola }

and later copy paste the viola part from the logfile into my score again.

regards, Eef




Op 30 jul. 2022, om 22:46 heeft Eef Weenink 
mailto:h.e.ween...@de-erve.nl>> het volgende geschreven:

It gives error;
"72:2: fout: GUILE signaleerde een fout voor de hier beginnende 
expressie"

 makes a file: in file is only:

%% instruments export : za 30 jul 22:36:19 2022 %%

I tried it with this file: ( a bit long ... but should be)


\version "2.22.2"

\include "arranger.ly<http://arranger.ly/>"

\header {
  title = "Romance Oubliée"
  composer = "Liszt, Ferenc (1880)"
  tagline = "Arrangement Eef Weenink"
}

\paper {
  #(set-paper-size "a4")
}

\layout {
  \context {
\Voice
\consists "Melody_engraver"
\override Stem #'neutral-direction = #'()
  }
}

global = {
\key e \minor
%  \twoCompoundMeters #'(9 8) #'(3 4)
\time 9/8
  \partial 8*3 s8*3

 s4. *3 *18
%\twoCompoundMeters #'(6 8) #'(2 4)
\time 6/8
  s4.*2*71
  \bar "|."
}

viola = \relative c' {
  \partial 8*3
c8\downbow_( \mf ^\markup {\italic "Andante malinconico"} b a e'4. \< 
f2. \! )  | % 1
r2.c8_( b a  | % 2
f'4. \< fis2. \! )  | % 3
r2. fis,8\downbow ( e dis | % 4
a' g fis ) c' (b a g fis a )| % 5
c (b a) dis\upbow (c b a b c) | % 6
dis ( e eis fis4 ) r8 g\upbow_"espr." ( fis e) | % 7
b'4.~ b8 b(  c b  \acciaccatura { d16 } c8 b)  | % 8
b4.\> ( fis4) \!  r8 fis( g \acciaccatura { b16 } a8)  | % 9
c,4.~ c8  b( \acciaccatura { d16} c8 b4 g'8)   | % 10
fis4.( e4) r8 g\upbow( fis e)   | % 11
 b'4.~ b8 b(  c b  \acciaccatura { d16 } c8 b)  | % 12
   b4.( e,4->) r8 es( b' a ) | % 13
   a4. d,4 ( e!8 fis4 \tuplet 3/2 { e16 fis g) }  | % 14
   fis4( e8 fis4) r8 es( b' a ) | % 15
a4. d,4 ( e!8 fis4 \tuplet 3/2 { e16_"dim." fis g) }  | % 16
fis4 \>( e8 fis2.) \! | % 17
R4.*3  | % 18

R2.  | % 19
r4 r8 \p \ ^~ ^(  % 21
a8 [ g fis]) fis^--  \! r8 r
f4.\downbow(  \acciaccatura { a16} g4 fis8)  % 22
%verder met pagina 3
}

#(begin
(export-instruments 'viola "exported-file.ly<http://exported-file.ly/>" #t)
)

\score {
  \new Staff \with {
instrumentName = "Altviool"
shortInstrumentName = "Avl."
\consists "Merge_rests_engraver"
printPartCombineTexts = ##f
  } {
\clef alto
\partCombine \global  \viola
  }
  \layout { }
}

Re: question about arranger.ly, export notes as text.

[Eef Weenink]

It gives error;
"72:2<0>: fout: GUILE signaleerde een fout voor de hier beginnende expressie"

 makes a file: in file is only:

%% instruments export : za 30 jul 22:36:19 2022 %%

I tried it with this file: ( a bit long ... but should be)


\version "2.22.2"

\include "arranger.ly<http://arranger.ly>"

\header {
  title = "Romance Oubliée"
  composer = "Liszt, Ferenc (1880)"
  tagline = "Arrangement Eef Weenink"
}

\paper {
  #(set-paper-size "a4")
}

\layout {
  \context {
\Voice
\consists "Melody_engraver"
\override Stem #'neutral-direction = #'()
  }
}

global = {
\key e \minor
%  \twoCompoundMeters #'(9 8) #'(3 4)
\time 9/8
  \partial 8*3 s8*3

 s4. *3 *18
%\twoCompoundMeters #'(6 8) #'(2 4)
\time 6/8
  s4.*2*71
  \bar "|."
}

viola = \relative c' {
  \partial 8*3
c8\downbow_( \mf ^\markup {\italic "Andante malinconico"} b a e'4. \< 
f2. \! )  | % 1
r2.c8_( b a  | % 2
f'4. \< fis2. \! )  | % 3
r2. fis,8\downbow ( e dis | % 4
a' g fis ) c' (b a g fis a )| % 5
c (b a) dis\upbow (c b a b c) | % 6
dis ( e eis fis4 ) r8 g\upbow_"espr." ( fis e) | % 7
b'4.~ b8 b(  c b  \acciaccatura { d16 } c8 b)  | % 8
b4.\> ( fis4) \!  r8 fis( g \acciaccatura { b16 } a8)  | % 9
c,4.~ c8  b( \acciaccatura { d16} c8 b4 g'8)   | % 10
fis4.( e4) r8 g\upbow( fis e)   | % 11
 b'4.~ b8 b(  c b  \acciaccatura { d16 } c8 b)  | % 12
   b4.( e,4->) r8 es( b' a ) | % 13
   a4. d,4 ( e!8 fis4 \tuplet 3/2 { e16 fis g) }  | % 14
   fis4( e8 fis4) r8 es( b' a ) | % 15
a4. d,4 ( e!8 fis4 \tuplet 3/2 { e16_"dim." fis g) }  | % 16
fis4 \>( e8 fis2.) \! | % 17
R4.*3  | % 18

R2.  | % 19
r4 r8 \p \ ^~ ^(  % 21
a8 [ g fis]) fis^--  \! r8 r
f4.\downbow(  \acciaccatura { a16} g4 fis8)  % 22
%verder met pagina 3
}

#(begin
(export-instruments 'viola "exported-file.ly<http://exported-file.ly>" #t)
)

\score {
  \new Staff \with {
instrumentName = "Altviool"
shortInstrumentName = "Avl."
\consists "Merge_rests_engraver"
printPartCombineTexts = ##f
  } {
\clef alto
\partCombine \global  \viola
  }
  \layout { }
}

question about arranger.ly, export notes as text.

[Eef Weenink]

OK, my arrangement is finished, now I want to export it to make a nice, clean 
original. So I am searching for a way to transfer the score (per instrument) to 
a text file or export in logfile etcetera, so I can use that.
But no luck yet.

In the manual is says"

" Once the arrangement is finished, it can be exported to usual LilyPond source:

   flute = {...}
   clar = {...}


"

And also there is mentioned export-instruments.

I did get a lot or errors, and a file with only a description of the instument, 
but no "notes"

Did seach in archives on "export" "text", but not a result I could use.

Anybody an idea on how to get this done?

Regards, Eef

Re: \time 9/8 (3/4)

[Eef Weenink]

The question started with a piece of Liszt. It has to be played adante. Time is 
set:
first part:  9/8 (3/4)
second part: 6/8 (2/4) istesso tempo (means that a 1/4 stays 1/4. So the 
duration of the measure changes). 

Writing it this way, prevents printing the triplet everywhere. 
The feel of the piece is for sure 3/4 resp. 2/4. 

NB: I also have seen similar pieces where, the composer/arranger, just wrote it 
is this way, without mentioning it in the time. When reading it, you suddenly 
see 3 x 1/8 in a 1/4. (OK this must be triplets :-) and of you go. 

Eef

> Op 29 jul. 2022, om 14:10 heeft David Kastrup  het volgende 
> geschreven:
> 
> Kieren MacMillan  writes:
> 
>> Hi Carl,
>> 
>>> Just curious, because I know precious little about polymetry.
>>> Does 9/8 (3/4) mean anything different from (3 + 3 + 3)/8 ?
>> 
>> Yes: the parenthetical notation is usually an instruction to alternate
>> time signatures, not simply a clarification of intention. For example,
>> in “West Side Story”, Bernstein uses 6/8 (3/4) to indicate that
>> alternate bars should be felt/conducted as 6/8 then 3/4 then 6/8 then
>> 3/4…
> 
> Just as an observation: "America" has much more of a triplet feeling in
> its 6/8 to me than the 3rd movement of BWV1041 has in its 9/8.  Partly
> it may be the syllabic rendition, partly the simple melodic structure.
> 
> -- 
> David Kastrup

Re: \time 9/8 (3/4)

[Eef Weenink]

Thank you Hans, 

The   \time #'(4 4 3) 11/8  
makes the subdivision, but only shows 11/8. 
I will use the example from 
https://myrealbook.vintherine.org/mesures-composees.html

> Op 28 jul. 2022, om 23:17 heeft Hans Åberg  het volgende 
> geschreven:
> 
> 
>> On 28 Jul 2022, at 22:43, Jean Abou Samra  wrote:
>> 
>> Also here:
>> 
>> https://myrealbook.vintherine.org/mesures-composees.html
> 
> One also write I think:
>  \time #'(4 4 3) 11/8
> 
> For a kopanitsa 11=4+3+4, I use:
>  \time #'(4 3 4) 11/16
> 
> 

\time 9/8 (3/4)

[Eef Weenink]

This score starts with \time 9/8, but i also should have 3/4 feeling, so there 
is written: 

9/8 (3/4)  (in parenthesis). 

Probably a returning question, but I could not find it, because no idea what 
search-wortds to use. 

regards, Eef 

Re: Help needed with arranger.ly

[Eef Weenink]

Ok, I start studying 📚. 
(I meant the manual if arranger.Ly) 

Met vriendelijke groet, Eef

H.E. Weenink MBA

> Op 25 jul. 2022 om 12:17 heeft David Kastrup  het volgende 
> geschreven:
> 
> Eef Weenink  writes:
> 
>> :-) works fine. So if I understandn this correctly, inside a scheme
>> part it is possible to insert lilypondinstructions like this:
>> 
>> (scheme instructions #{ lilypondinstructions #}) 
>> 
>> (that was not in the manual ;-)
> 
> <https://lilypond.org/doc/v2.22/Documentation/extending/lilypond-code-blocks>
> 
> -- 
> David Kastrup

Re: Help needed with arranger.ly

[Eef Weenink]

:-) works fine. So if I understandn this correctly, inside a scheme part it is 
possible to insert lilypondinstructions like this: 

(scheme instructions #{ lilypondinstructions #}) 

(that was not in the manual ;-)

regards, Eef 

> Op 25 jul. 2022, om 11:53 heeft Eef Weenink  het 
> volgende geschreven:
> 
> Merci beaucoup, I will check. regards, Eef 
> 
>> Op 25 jul. 2022, om 10:07 heeft Gilles Thibault  het 
>> volgende geschreven:
>> 
>> Le 2022-07-24 13:38, Eef Weenink a écrit :
>>> I need some help to get this nice program really running.
>>> I read the manual several times,studied NOTES.ly<http://NOTES.ly>
>>> etcetera and now able to get the first parts of music on the correct
>>> place. :-)
>>> (I am using a score with 6 instruments and I am trying to arrange this
>>> or other combination of instruments. If needed I can give an example,
>>> but that is a lot of work, so hopefully my description is enough. )
>>> Question1:
>>> - How to insert a clef change at a specific point?
>>> I have two voices in lefthand of piano, created like:
>>> (rm 'leftOne  1 'leftOOne '(8 16)  )
>>> (rm 'leftTwo  1 'leftOTwo '(8 16)  )
>>> Now I need a clef change in bar 7, to change clef from treble to bass.
>> 
>> well i don't know exactly how your 2 voices are mixed in your lefthand.
>> I imagine that is something like that
>>   << \leftOne \\ \leftTwo >>
>> So i think that including a clef change in either on one voice would do the 
>> trick
>> 
>> (rm 'leftOne 7 #{ \clef "bass" #})
>> or
>> (rm 'leftTwo 7 #{ \clef "bass" #})
>> 
>> (Sorry, i am not at home for 2 days, i cannot test)
>> 
>>> Question 2:
>>> Having two voices in left hand, I want to insert the command to get
>>> stems of both voices in same direction. So in both voices I need to
>>> insert:
>>> \stemDown
>> 
>> If the insertion is in bar 5 for example :
>> (rm '(leftOne leftTwo) 5 #{ \stemDown #})
>> Or also
>> (rm '(leftOne leftTwo) 5 stemDown) ; should work
>> 
>>> Probably same questions for inserting articulations, slurs, etcera,
>>> Normally I would do that in the source of music, but when arranging
>>> that is not the way to go, because I want to reuse the same material
>>> perhaps with other slurs/etcetera.
>> 
>> You can have articulations pattern (copyArticulation.ly)
>> 
>> arti = { 16( 16) 8-. 8-. }
>> ...
>> (rm 'instru 15 (ca arti #{ c d e f g a b c #}))
>> 
>> 
>> -- 
>> Gilles
> 

Re: Help needed with arranger.ly

[Eef Weenink]

Merci beaucoup, I will check. regards, Eef 

> Op 25 jul. 2022, om 10:07 heeft Gilles Thibault  het 
> volgende geschreven:
> 
> Le 2022-07-24 13:38, Eef Weenink a écrit :
>> I need some help to get this nice program really running.
>> I read the manual several times,studied NOTES.ly<http://NOTES.ly>
>> etcetera and now able to get the first parts of music on the correct
>> place. :-)
>> (I am using a score with 6 instruments and I am trying to arrange this
>> or other combination of instruments. If needed I can give an example,
>> but that is a lot of work, so hopefully my description is enough. )
>> Question1:
>> - How to insert a clef change at a specific point?
>> I have two voices in lefthand of piano, created like:
>>  (rm 'leftOne  1 'leftOOne '(8 16)  )
>>  (rm 'leftTwo  1 'leftOTwo '(8 16)  )
>> Now I need a clef change in bar 7, to change clef from treble to bass.
> 
> well i don't know exactly how your 2 voices are mixed in your lefthand.
> I imagine that is something like that
><< \leftOne \\ \leftTwo >>
> So i think that including a clef change in either on one voice would do the 
> trick
> 
>  (rm 'leftOne 7 #{ \clef "bass" #})
> or
>  (rm 'leftTwo 7 #{ \clef "bass" #})
> 
> (Sorry, i am not at home for 2 days, i cannot test)
> 
>> Question 2:
>> Having two voices in left hand, I want to insert the command to get
>> stems of both voices in same direction. So in both voices I need to
>> insert:
>> \stemDown
> 
> If the insertion is in bar 5 for example :
>  (rm '(leftOne leftTwo) 5 #{ \stemDown #})
> Or also
>  (rm '(leftOne leftTwo) 5 stemDown) ; should work
> 
>> Probably same questions for inserting articulations, slurs, etcera,
>> Normally I would do that in the source of music, but when arranging
>> that is not the way to go, because I want to reuse the same material
>> perhaps with other slurs/etcetera.
> 
> You can have articulations pattern (copyArticulation.ly)
> 
>  arti = { 16( 16) 8-. 8-. }
>  ...
>  (rm 'instru 15 (ca arti #{ c d e f g a b c #}))
> 
> 
> -- 
> Gilles

Help needed with arranger.ly

[Eef Weenink]

I need some help to get this nice program really running.
I read the manual several times,studied NOTES.ly<http://NOTES.ly> etcetera and 
now able to get the first parts of music on the correct place. :-)
(I am using a score with 6 instruments and I am trying to arrange this or other 
combination of instruments. If needed I can give an example, but that is a lot 
of work, so hopefully my description is enough. )

Question1:
- How to insert a clef change at a specific point?
I have two voices in lefthand of piano, created like:
  (rm 'leftOne  1 'leftOOne '(8 16)  )
  (rm 'leftTwo  1 'leftOTwo '(8 16)  )
Now I need a clef change in bar 7, to change clef from treble to bass.


Question 2:

Having two voices in left hand, I want to insert the command to get stems of 
both voices in same direction. So in both voices I need to insert:
 \stemDown
I have no idea how to do this.

Probably same questions for inserting articulations, slurs, etcera,
Normally I would do that in the source of music, but when arranging that is not 
the way to go, because I want to reuse the same material perhaps with other 
slurs/etcetera.


Maybe it is in the manual, but I did not find it.

regards, Eef Weenink

Re: debug scheme part working with Frescobaldi

[Eef Weenink]

I use 2.22 and arranger.ly<http://arranger.ly> (from Giles Thibault)

My question is more general. (and maybe mostly related to Frescobaldi as an 
enviroment).
I have several lines of scheme, somewhere is probably an syntax error.
The only message I get is form lilypond log:  there is an error in the line # 
begin etcetera.
(that is the first line of the scheme segment).
I want to zoom in, and see what specific problem there is, so I need the log of 
scheme to know what is happening.

I will do some more reading and ask my question in the Frescobalid user group.

Eef





Which version do you use?
What's the exact error message?
Did you read the recent threads about that topic?
p.e. https://lists.gnu.org/archive/html/lilypond-user/2022-07/msg00048.html

Probably easiest to use 2.22.

Cheers,
 Harm


Op 19 jul. 2022, om 21:51 heeft Thomas Morley 
mailto:thomasmorle...@gmail.com>> het volgende 
geschreven:

Am Di., 19. Juli 2022 um 21:40 Uhr schrieb Eef Weenink 
mailto:h.e.ween...@de-erve.nl>>:

So I am start working with scheme parts in my liypond files (using 
arranger.ly<http://arranger.ly>). Using Frescobalid to input all
When compiling I keep getting messages:

GUILE signaleerde een fout voor de hier beginnende expressie

It would be nice to know what error I made. I read I should

\include "guile-debugger.ly<http://guile-debugger.ly>"

so I did, but then the compiling process keeps running untill I break it the 
hard way.

How can I get a good result, the easy (best) way?

regards, Eef

debug scheme part working with Frescobaldi

[Eef Weenink]

So I am start working with scheme parts in my liypond files (using 
arranger.ly). Using Frescobalid to input all
When compiling I keep getting messages:

GUILE signaleerde een fout voor de hier beginnende expressie

It would be nice to know what error I made. I read I should

\include "guile-debugger.ly"

so I did, but then the compiling process keeps running untill I break it the 
hard way.

How can I get a good result, the easy (best) way?

regards, Eef

Re: subito PP

[Eef Weenink]

try this;

\version "2.23.10"

subPP =
#(make-dynamic-script
  (markup #:line
  (#:normal-text
   #:italic "sub."
   #:dynamic "pp")))

\score {
 {
   c'2-\ff c'2-\subPP % Volume should be pp but is still ff
 }
 \layout {}
 \midi {}
}




Op 17 jul. 2022, om 10:11 heeft Benjamin Tordoff 
mailto:ben.tord...@me.com>> het volgende geschreven:

\version "2.23.10"
subPP = \markup{ \italic{sub.} \dynamic pp }

\score {
 {
   c'2-\ff c'2-\subPP % Volume should be pp but is still ff
 }
 \layout {}
 \midi {}
}

lilypondblog.org hacked?

[Eef Weenink]

https://www.lilypondblog.org/ seems to be hacked.
Maybe already known by the owner? Otherwise, maybe have a look and see if it 
can be fixed.

Eef

Re: Vertical Fill

[Eef Weenink]

\paper {
   ragged-bottom = ##t 
}



> Op 12 jul. 2022, om 23:26 heeft Greg Lindstrom  het 
> volgende geschreven:
> 
> I'm using Lilypond 2.22.1 and would like to add a page break but when I use 
> "\pageBreak" the score "stretches" to fill the page. Is there a command to 
> fill the page so the next score starts at the top of the next page without 
> stretching the previous page?
> 
> Thanks!
> --greg

Re: [Frescobaldi] ANN: Frescobaldi 3.1.2

[Eef Weenink]

Wish you all good EasterTIme and thanks for the great work done on Frescobaldi. 

I tried to get this working on Mac. No luck. It cannot find 
'python-poppler-qt5’ 

So guess I have to wait for the Frescobaldi.app? 

regards, Eef 

> Op 13 apr. 2020, om 15:25 heeft Wilbert  het volgende 
> geschreven:
> 
> Dear music-loving friends,
> 
> I'm happy to announce the availability of Frescobaldi 3.1.2, a bugfix release.
> 
> The source tarball is uploaded, packaged releases will probably follow soon. 
> Many thanks to all the contributors, and especially to Davide Liessi, who 
> fixed many little but sometimes annoying bugs on the Mac OS X platform.
> 
> Please refer to the ChangeLog at 
> https://github.com/frescobaldi/frescobaldi/blob/master/ChangeLog for a 
> listing of the changes.
> 
> Happy Easter!
> 
> Wilbert and the rest of the Frescobaldi team
> 
> 
> -- 
> Frescobaldi homepage: http://www.frescobaldi.org/
> Mailing list: http://groups.google.com/group/frescobaldi
> Issue tracker: https://github.com/frescobaldi/frescobaldi/issues
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