Re: Terminology question

[Frederick Bartlett]

'Copying,' and those who do it are 'copyists' (sometimes 'music copyists').

Re: lilypond-user Digest, Vol 228, Issue 42

[Frederick Bartlett]

Well, rats.

I just tried it (fedora 35, frescobaldi 3.1.3) and had the same result. I
had to kill -9 frescobaldi.

While my user account uses anaconda python at 3.8.8, the system python is
3.10.0.

Fwiw, the other big problem with this release is a malloc bug in glibc
2.4.3 which renders CUDA 11.5 inoperable; the solution is to downgrade gcc,
which fun project I have yet to start.

Fred

On Tue, Nov 9, 2021 at 12:05 PM  wrote:

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> Today's Topics:
>
>1. Re: Frescobaldi fails with Fedora 35 / Python 3.10 (Knute Snortum)
>
>
> --
>
> Message: 1
> Date: Tue, 9 Nov 2021 07:41:17 -0800
> From: Knute Snortum 
> To: Martin Tarenskeen 
> Cc: lilypond-user mailinglist 
> Subject: Re: Frescobaldi fails with Fedora 35 / Python 3.10
> Message-ID:
> <
> calmejxspha63osos3h0uhwd0moceyox8wwh_uhy4sqtzw-a...@mail.gmail.com>
> Content-Type: text/plain; charset="UTF-8"
>
> Just out of interest, what level of Frescobaldi are you using?
>
> --
> Knute Snortum
>
>
> On Tue, Nov 9, 2021 at 1:18 AM Martin Tarenskeen
>  wrote:
> >
> >
> > Hi,
> >
> > After upgrading my Linux Fedora from 34 to 35, which now provides Python
> > 3.10, Frescobaldi will hang with a message like:
> >
> > Traceback (most recent call last):
> >File
> >
> "/usr/lib/python3.10/site-packages/frescobaldi_app/qpageview/highlight.py",
> > line 209, in paintEvent
> >  super().paintEvent(ev)  # first paint the contents
> >File
> > "/usr/lib/python3.10/site-packages/frescobaldi_app/qpageview/shadow.py",
> > line 46, in paintEvent
> >  self.drawDropShadow(page, painter, width)
> >File
> > "/usr/lib/python3.10/site-packages/frescobaldi_app/qpageview/shadow.py",
> > line 63, in drawDropShadow
> >  color.setAlpha(200**f + 55*f)
> > TypeError: setAlpha(self, int): argument 1 has unexpected type 'float'
> >
> > I have reported the problem upstream, I think the problem is/was already
> > known. Just wanted to warn Fedora+Lilypond/Frescobaldi users who plan to
> > upgrade from Fedora 34 to 35. If you very much need Frescobaldi it might
> > be a good idea to wait until this problem is fixed before upgrading.
> >
> > Hope the problem (wherever it is) will be fixed soon. The problem
> > did not happen with previous Python version(s) on Fedora 34.
> >
> > --
> >
> > MT
> >
>
>
>
> --
>
> Subject: Digest Footer
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>

Still confused about horizontal shifts in NoteColumns

[Frederick Bartlett]

Running 2.18.2 under Linux, I'm looking to duplicate this:
[image: Inline images 2]
I currently have this:

[image: Inline images 2]

I would like to shift the first quarter note a bit to the right, about half
as much as the third, but force-hshift and the various \shiftOxxx commands
have no effect. (The stems of the quarter and half notes should be
noticeably separate.)

Snippet:

\new Staff = "treble" \with { \consists "Span_arpeggio_engraver" }
<< \relative c'' { \set Staff.connectArpeggios = ##t \key a\major
  << { e2 \arpeggio a, } \\ { \voiceOne e4 \arpeggio e \shiftOn e fis8 g }
\\ { cis,1 \arpeggio } >>
} >>

I get the usual warning -- "ignoring too many clashing note columns".  The
LM says, at 4.6.1, "If *and only if* two or more note columns within a
single Staff context, both with stems in the same direction, occur at the
same musical moment, the values of their horizontal-shift properties are
used to rank them and the columns in the higher ranks are progessively
offset to avoid collisions of the noteheads."

So -- shouldn't the alignment I want occur automagically?

Or should "both with stems in the same direction" be "all with stems ..."?
But whole notes have no stems ... is that the problem?

Thanks!

Fred
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Re: Overlapping ties in different voices

[Frederick Bartlett]

Trevor,

I am, indeed, using 2.18.2. I obviously should have mentioned that. Sorry!

I finally got it to work in such a way that it precisely mimics the
original:

[image: Inline images 1]

[image: Inline images 2]
I had to add a \hideNotes:

 <<

{ s1 | \once \override NoteColumn.force-hshift = 1.75 b1~ | b2 cis } \\

{ a1~ | 2 4  | 1 } \\

{ } \\

{ r2 a,~ | \once \override NoteColumn.force-hshift = 0.75 \hideNotes a
\unHideNotes }

>>


Thanks again for your help!

Fred




On 8 October 2014 05:10, Trevor Daniels  wrote:

>  Fred
>
> Did you not see my follow-up adding the A to reinstate the
> tie?
>
> Anyway, the correct solution depends on which version
> you're using.  After adding back the A you might get
> a warning about clashing note columns, but only in
> version 2.18.
>
> Keith posted a patch to 2.19 which limits the warning about clashing
> note columns if the notes were actually too far apart to clash, as
> they are here.  In 2.18 either use voice 4 rather than voice 3 (just
> insert another \\) or add \voiceFour to remove the warning.
>
> Trevor
>
> - Original Message -
> *From:* Frederick Bartlett 
> *Cc:* LilyPond Users 
> *Sent:* Wednesday, October 08, 2014 2:12 AM
> *Subject:* Re: Overlapping ties in different voices
>
> I neglected to send this to the group .. sorry! Out of date anyway, since
> the a tie between mm 1 & 2 isn't working in Trevor's solution.
>
>  Trevor,
>
> Your solution is what I was after. Thanks!
>
> But -- why 2 as the parameter for force-hshift? Doesn't that mean two
> notehead widths?
>
> For others -- I was looking for this:
>
> [image: Inline images 2]
> from
> IMSLP305644-PMLP30753-IMSLP252089-PMLP30753-Saint_Saens-Oratorio_de_Noel-Partition_Chant_et_Piano_-_scantailored.pdf,
> print page 9, PDF page 11.
>
> Thanks to all!
>
> Fred
>
> On 7 October 2014 18:25, Trevor Daniels  wrote:
>
>>  Hi Fred
>>
>> Here's the way I'd do it (if I've interpreted what you wanted correctly):
>>
>> \relative c''' <<
>>
>>   { s1 |
>>
>> \once \override NoteColumn.force-hshift = 2
>>
>> b1~ | b2 cis | }
>>
>>   \\
>>
>>   { a1~ | 2 4  | 1 }
>>
>>  \\
>>
>>   { \voiceTwo r2 a,~ | }
>>
>> >>
>>
>>
>>
>> Trevor
>>
>>
>>
>> - Original Message -
>> *From:* Frederick Bartlett 
>> *To:* LilyPond Users 
>> *Sent:* Tuesday, October 07, 2014 8:57 PM
>> *Subject:* Overlapping ties in different voices
>>
>>  Hi!
>>
>> I'm trying to set selection from Saint-Saën's Oratorio de Noël for my
>> choir.
>> In the Gloria in altissimis (p9 in the IMSLP PDFs), I found an odd
>> combination of ties:
>> \relative c''' {
>>   << {   s1  | b1 ~  | b2 cis  } \\
>>  {   a1 ~| a2 s2 | s1  } \\
>>  { \voiceTwo r2 a, ~ | a 4  | 1 }
>>   >>
>> }
>>  This peculiar mess is almost right; I just need to figure out how to
>> keep the b and a on the first beat of the second measure from colliding --
>> but no combination of \shiftOxxx and \once \override
>> NoteColumn.force-hshift that I've tried has answered the case. Leaving the
>> \voiceTwo command out prevents the collision -- but at the cost of getting
>> many other things wrong.
>>
>> To match the 19th-century original, the b should be shifted a notehead's
>> width right.
>>
>> Help?
>> Thanks!
>> Fred
>>
>>  --
>>
>> ___
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>>
>>
>
>
> --
> “To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
> State of the United States of America, in response to Senator Barbara
> Boxer, 3 Sep 2013
>
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Re: Overlapping ties in different voices

[Frederick Bartlett]

I neglected to send this to the group .. sorry! Out of date anyway, since
the a tie between mm 1 & 2 isn't working in Trevor's solution.

Trevor,

Your solution is what I was after. Thanks!

But -- why 2 as the parameter for force-hshift? Doesn't that mean two
notehead widths?

For others -- I was looking for this:

[image: Inline images 2]
from
IMSLP305644-PMLP30753-IMSLP252089-PMLP30753-Saint_Saens-Oratorio_de_Noel-Partition_Chant_et_Piano_-_scantailored.pdf,
print page 9, PDF page 11.

Thanks to all!

Fred

On 7 October 2014 18:25, Trevor Daniels  wrote:

>  Hi Fred
>
> Here's the way I'd do it (if I've interpreted what you wanted correctly):
>
> \relative c''' <<
>
>   { s1 |
>
> \once \override NoteColumn.force-hshift = 2
>
> b1~ | b2 cis | }
>
>   \\
>
>   { a1~ | 2 4  | 1 }
>
>  \\
>
>   { \voiceTwo r2 a,~ | }
>
> >>
>
>
>
> Trevor
>
>
>
> - Original Message -
> *From:* Frederick Bartlett 
> *To:* LilyPond Users 
> *Sent:* Tuesday, October 07, 2014 8:57 PM
> *Subject:* Overlapping ties in different voices
>
>  Hi!
>
> I'm trying to set selection from Saint-Saën's Oratorio de Noël for my
> choir.
> In the Gloria in altissimis (p9 in the IMSLP PDFs), I found an odd
> combination of ties:
> \relative c''' {
>   << {   s1  | b1 ~  | b2 cis  } \\
>  {   a1 ~| a2 s2 | s1  } \\
>  { \voiceTwo r2 a, ~ | a 4  | 1 }
>   >>
> }
>  This peculiar mess is almost right; I just need to figure out how to
> keep the b and a on the first beat of the second measure from colliding --
> but no combination of \shiftOxxx and \once \override
> NoteColumn.force-hshift that I've tried has answered the case. Leaving the
> \voiceTwo command out prevents the collision -- but at the cost of getting
> many other things wrong.
>
> To match the 19th-century original, the b should be shifted a notehead's
> width right.
>
> Help?
> Thanks!
> Fred
>
>  --
>
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>


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Re: Overlapping ties in different voices

[Frederick Bartlett]

Trevor,

On further review, your solution (above) is missing a tie; when I add the
tie (below), the collision reoccurs:
[image: Inline images 1]
There's something about note columns and horizontal position that I'm just
not getting ...

Fred

On 7 October 2014 18:25, Trevor Daniels  wrote:

>  Hi Fred
>
> Here's the way I'd do it (if I've interpreted what you wanted correctly):
>
> \relative c''' <<
>
>   { s1 |
>
> \once \override NoteColumn.force-hshift = 2
>
> b1~ | b2 cis | }
>
>   \\
>
>   { a1~ | 2 4  | 1 }
>
>  \\
>
>   { \voiceTwo r2 a,~ | }
>
> >>
>
>
>
> Trevor
>
>
>
> - Original Message -
> *From:* Frederick Bartlett 
> *To:* LilyPond Users 
> *Sent:* Tuesday, October 07, 2014 8:57 PM
> *Subject:* Overlapping ties in different voices
>
>  Hi!
>
> I'm trying to set selection from Saint-Saën's Oratorio de Noël for my
> choir.
> In the Gloria in altissimis (p9 in the IMSLP PDFs), I found an odd
> combination of ties:
> \relative c''' {
>   << {   s1  | b1 ~  | b2 cis  } \\
>  {   a1 ~| a2 s2 | s1  } \\
>  { \voiceTwo r2 a, ~ | a 4  | 1 }
>   >>
> }
>  This peculiar mess is almost right; I just need to figure out how to
> keep the b and a on the first beat of the second measure from colliding --
> but no combination of \shiftOxxx and \once \override
> NoteColumn.force-hshift that I've tried has answered the case. Leaving the
> \voiceTwo command out prevents the collision -- but at the cost of getting
> many other things wrong.
>
> To match the 19th-century original, the b should be shifted a notehead's
> width right.
>
> Help?
> Thanks!
> Fred
>
>  --
>
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>


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State of the United States of America, in response to Senator Barbara
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Overlapping ties in different voices

[Frederick Bartlett]

Hi!

I'm trying to set selection from Saint-Saën's Oratorio de Noël for my choir.
In the Gloria in altissimis (p9 in the IMSLP PDFs), I found an odd
combination of ties:
\relative c''' {
  << {   s1  | b1 ~  | b2 cis  } \\
 {   a1 ~| a2 s2 | s1  } \\
 { \voiceTwo r2 a, ~ | a 4  | 1 }
  >>
}
This peculiar mess is almost right; I just need to figure out how to keep
the b and a on the first beat of the second measure from colliding -- but
no combination of \shiftOxxx and \once \override NoteColumn.force-hshift
that I've tried has answered the case. Leaving the \voiceTwo command out
prevents the collision -- but at the cost of getting many other things
wrong.

To match the 19th-century original, the b should be shifted a notehead's
width right.

Help?
Thanks!
Fred
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Re: Scores for the visually impaired

[Frederick Bartlett]

Curt,

I had no idea such a thing existed. It looks terrific! thanks for the tip.

Fred


On 8 December 2013 14:41, Curt  wrote:

> I wonder if you could get some ideas from the python scripts that convert
> lilypond files into scrolling videos...
>
> On Dec 3, 2013, at 8:09 AM, Frederick Bartlett <
> frederick.bartl...@gmail.com> wrote:
>
> Now that I'm *cough, cough* an expert LilyPond user, I want to explore
> something really difficult.
>
> My wife, a voice teacher, suffers from macular degeneration. Before her
> vision degrades so much that she can no longer read printed scores, I'd
> like to cobble together a system that
>
>- scans piano-vocal sheet music
>- creates a LilyPond file
>- controls a digital piano with LilyPond's midi output
>- displays the score in sync on a tablet at arbitrary magnification
>- controls tempi and dynamics by gestures and taps (and/or voice
>commands)
>- (bonus round) 'listens' to the singer and adjusts tempi and dynamics
>to match
>
> Judging by the success of Frescobaldi, most of this would seem to be
> feasible. And I have five years or so to figure all this out ...
>
> Has anyone on this list ever used Audiveris or OpenOMR?
>
> How about creating non-paged graphical output from LilyPond?
>
> Thanks for reading!
>
> Fred
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>


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Re: Scores for the visually impaired

[Frederick Bartlett]

Hi, Janek

Thanks for those terrific tips. Once I know enough to have questions that
require only two-sentence answers, I'll be sure to contact you.

Thanks again,
Fred


On 8 December 2013 06:17, Janek Warchoł  wrote:

> Hi Frederick,
>
> 2013/12/3 Frederick Bartlett :
> > Now that I'm *cough, cough* an expert LilyPond user, I want to explore
> > something really difficult.
> >
> > My wife, a voice teacher, suffers from macular degeneration. Before her
> > vision degrades so much that she can no longer read printed scores, I'd
> like
> > to cobble together a system that
> >
> > scans piano-vocal sheet music
> > creates a LilyPond file
> > controls a digital piano with LilyPond's midi output
> > displays the score in sync on a tablet at arbitrary magnification
> > controls tempi and dynamics by gestures and taps (and/or voice commands)
> > (bonus round) 'listens' to the singer and adjusts tempi and dynamics to
> > match
>
> This would be a very impressive and commendable thing!
> I would really like to help you, but i'm so busy that i really don't
> have time :-(
> I can only give some pointers:
> - scanning software will probably output MusicXML, so you should take
> a look at musicxml2ly converting tool.  Peter Bjuhr have recently
> started an effort to export to MusicXML, so he's familiar with the
> subject - i suggest you contact him.  You may also contact Philomelos
> (-> Patrick Schmidt), because they have some improvements for
> musicxml2ly that could be merged to LilyPond).
> - i think there are efforts to make Frescobaldi accept midi input
> (https://github.com/wbsoft/frescobaldi/pull/291). You may try
> contacting that person, he may have more experience with MIDI.
> - for display synchronization and the like, you definitely want to
> contact Jan Rosseel from Scora (http://www.scora.net/).
>
> I hope this will help you.  If you have specific questions (that can
> be answered in 2 sentences), i'd be more than happy to help.  But i
> don't have time for much more, sorry! :-(
>
> > Judging by the success of Frescobaldi, most of this would seem to be
> > feasible. And I have five years or so to figure all this out ...
> >
> > Has anyone on this list ever used Audiveris or OpenOMR?
>
> I haven't, but i would like to investigate them if i had time...
>
> > How about creating non-paged graphical output from LilyPond?
>
> There were some attempts to do this, but i don't remember the details.
>
> hope this helps,
> janek
>



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Scores for the visually impaired

[Frederick Bartlett]

Now that I'm *cough, cough* an expert LilyPond user, I want to explore
something really difficult.

My wife, a voice teacher, suffers from macular degeneration. Before her
vision degrades so much that she can no longer read printed scores, I'd
like to cobble together a system that

   - scans piano-vocal sheet music
   - creates a LilyPond file
   - controls a digital piano with LilyPond's midi output
   - displays the score in sync on a tablet at arbitrary magnification
   - controls tempi and dynamics by gestures and taps (and/or voice
   commands)
   - (bonus round) 'listens' to the singer and adjusts tempi and dynamics
   to match

Judging by the success of Frescobaldi, most of this would seem to be
feasible. And I have five years or so to figure all this out ...

Has anyone on this list ever used Audiveris or OpenOMR?

How about creating non-paged graphical output from LilyPond?

Thanks for reading!

Fred
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Re: Odd \time and \appoggiatura interaction

[Frederick Bartlett]

Patrick,

Are you sure \transpose changes the key signature? It doesn't work for me,
unless the \key is inside the \transpose, which won't generally be the
case, since I put \key in a \global ... or is there some easier way to
manage \transpose and \key? (I would like a way to \transpose all voices in
a piece with a single command rather than putting an individual \transpose
on each voice.)

Also, the snippet is quite simplified; I really do need the two-voice
construct. The actual treble clef's first measure is

<< { \appoggiatura { g16 ([a] } \voiceOne g4) (c8 g) a4 (b) } \\ {
\appoggiatura { s8 }2 4 } >>

where the \voiceOne is need to prevent warnings about too many clashing
note columns (which I also don't understand, but it does work, more or
less).


Thanks,

Fred



On 9 November 2013 15:38, pls  wrote:

>
> On 09.11.2013, at 21:06, Frederick Bartlett 
> wrote:
>
> Urs,
>
> Thanks for that; I have been putting spacers everywhere. But now I have a
> new problem: My wife just asked me (she's the musician, I'm just the
> engraver) to transpose the piece up a half step. So, I put a \transpose c
> des {} around every voice and changed the \key in my \global to des\major.
>
> Frederick,
>
> Don't change the key to des\major. \transpose c des {} will do it for you.
>
>
> Now, in my first bar (which has an appoggiatura), the key signature shows
> up on the third beat (literally 'on': it's superimposed over the notes),
> even though I have the spacers everywhere. This snippet shows most of the
> problems, though not the superimposition, and the key signature comes after
> the appoggiatura instead of on the third beat of the measure:
>
> \version "2.16"
>
> \book {
> \score {
> \new Staff = "treble" <<
> \new Voice = "treble1" <<
> \key des\major
> \time 4/4
> \transpose c des { \relative c''' {
> << { \appoggiatura { g16 ([a] } g2 g ) } \\ { \appoggiatura { s8 } e2 e}
> >> |
> }}
> >>
> >>
> \layout {
> }
> }
> }
>
> There is no need for temporary polyphony here. This solution is easier:
>
> \version "2.16"
>
> \book {
>   \score {
> \new Staff = "treble" <<
>   \new Voice = "treble1" <<
> \transpose c des {
>   \key c\major
>   \time 4/4
>   \relative c''' {
> \slurUp
> \appoggiatura { g16 ([a] } 2  ) } |%1
>   }
>   >>
> >>
> \layout {
> }
>   }
> }
>
> hth
> patrick
>
> While the snippet shows the problem it doesn't show the rather
> uninformative message I get when engraving the larger piece:
> Preprocessing graphical objects...
> programming error: Object is not a markup.
> continuing, cross fingers
> I guess I should look up debugging options 
>
> Thanks again,
> Fred
>
>
>
> On 9 November 2013 14:23, Urs Liska  wrote:
>
>>  It is a common problem.
>> You have to put an appogiatura with spacer rests in all voices.
>>
>> Hth
>> Urs
>>
>>
>>
>> Frederick Bartlett  schrieb:
>>>
>>> I'm running Lilypond 2.16.2 inside Frescobaldi 2.0.10 on Fedora 19.
>>>
>>> This gives two 'C' time signatures, one before and one after the
>>> appoggiatura:
>>>
>>> \version "2.16"
>>>
>>> \book {
>>> \score {
>>> \new Staff = "treble" <<
>>> \new Voice = "treble1" <<
>>> \key c\major
>>> \time 4/4
>>> \relative c''' {
>>> << { \appoggiatura { g16 ([a] } g1) } \\ { 1} >> |
>>> }
>>> >>
>>> >>
>>> \layout {
>>> }
>>> }
>>> }
>>>
>>> If I comment out the \time 4/4, I get only one 'C', in the usual place.
>>>
>>> If I change the \time to 3/4 (and the note values to 2.), then I get a
>>> 'C' before the appoggiatura and a '3/4' after.
>>>
>>> Is this a known bug? I couldn't find it, though I did see discussions of
>>> problems with appoggiaturi and bar lines in general ...
>>>
>>> Thanks!
>>> Fred
>>>
>>> --
>>> “To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
>>> State of the United States of America, in response to Senator Barbara
>>> Boxer, 3 Sep 2013
>>>
>>> --
>>>
>>> lilypond-user mailing list
>>> lilypond-user@gnu.org
>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>>
>>>
>
>
> --
> “To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
> State of the United States of America, in response to Senator Barbara
> Boxer, 3 Sep 2013
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Re: Odd \time and \appoggiatura interaction

[Frederick Bartlett]

Urs,

Thanks for that; I have been putting spacers everywhere. But now I have a
new problem: My wife just asked me (she's the musician, I'm just the
engraver) to transpose the piece up a half step. So, I put a \transpose c
des {} around every voice and changed the \key in my \global to des\major.

Now, in my first bar (which has an appoggiatura), the key signature shows
up on the third beat (literally 'on': it's superimposed over the notes),
even though I have the spacers everywhere. This snippet shows most of the
problems, though not the superimposition, and the key signature comes after
the appoggiatura instead of on the third beat of the measure:

 \version "2.16"


\book {

\score {

\new Staff = "treble" <<

\new Voice = "treble1" <<

\key des\major

\time 4/4

\transpose c des { \relative c''' {

<< { \appoggiatura { g16 ([a] } g2 g ) } \\ { \appoggiatura { s8 } e2 e} >>
|

}}

>>

>>

\layout {

}

}

}

While the snippet shows the problem it doesn't show the rather
uninformative message I get when engraving the larger piece:
Preprocessing graphical objects...

programming error: Object is not a markup.

continuing, cross fingers

I guess I should look up debugging options 

Thanks again,
Fred



On 9 November 2013 14:23, Urs Liska  wrote:

>  It is a common problem.
> You have to put an appogiatura with spacer rests in all voices.
>
> Hth
> Urs
>
>
>
> Frederick Bartlett  schrieb:
>>
>> I'm running Lilypond 2.16.2 inside Frescobaldi 2.0.10 on Fedora 19.
>>
>> This gives two 'C' time signatures, one before and one after the
>> appoggiatura:
>>
>> \version "2.16"
>>
>>
>> \book {
>>
>> \score {
>>
>> \new Staff = "treble" <<
>>
>> \new Voice = "treble1" <<
>>
>> \key c\major
>>
>> \time 4/4
>>
>> \relative c''' {
>>
>> << { \appoggiatura { g16 ([a] } g1) } \\ { 1} >> |
>>
>> }
>>
>> >>
>>
>> >>
>>
>> \layout {
>>
>> }
>>
>> }
>>
>> }
>>
>>
>> If I comment out the \time 4/4, I get only one 'C', in the usual place.
>>
>>
>> If I change the \time to 3/4 (and the note values to 2.), then I get a
>> 'C' before the appoggiatura and a '3/4' after.
>>
>>
>> Is this a known bug? I couldn't find it, though I did see discussions of
>> problems with appoggiaturi and bar lines in general ...
>>
>> Thanks!
>> Fred
>>
>> --
>> “To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
>> State of the United States of America, in response to Senator Barbara
>> Boxer, 3 Sep 2013
>>
>> --
>>
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>>


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Boxer, 3 Sep 2013
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Odd \time and \appoggiatura interaction

[Frederick Bartlett]

I'm running Lilypond 2.16.2 inside Frescobaldi 2.0.10 on Fedora 19.

This gives two 'C' time signatures, one before and one after the
appoggiatura:

 \version "2.16"


\book {

\score {

\new Staff = "treble" <<

\new Voice = "treble1" <<

\key c\major

\time 4/4

\relative c''' {

<< { \appoggiatura { g16 ([a] } g1) } \\ { 1} >> |

}

>>

>>

\layout {

}

}

}


If I comment out the \time 4/4, I get only one 'C', in the usual place.


If I change the \time to 3/4 (and the note values to 2.), then I get a 'C'
before the appoggiatura and a '3/4' after.


Is this a known bug? I couldn't find it, though I did see discussions of
problems with appoggiaturi and bar lines in general ...

Thanks!
Fred

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Re: Windows registry, Python, and LilyPond

[Frederick Bartlett]

Eluze,

When I try midi2ly under Windows 7, I get the error "No module named midi".
While I see a midi.dll in LilyPond\usr\bin and
LilyPond\lib\lilypond\current\python, I don't have anything at all under
\Python27.

But, as I said, it works fine on my Linux box ... so I assume I'm missing
some Windows-specific file and am too lazy and poorly motivated to fix it.

Fred

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Re: Windows registry, Python, and LilyPond

[Frederick Bartlett]

Thanks for the information, everyone 

I think what I'm looking for is a Windows installation whereby LilyPond's
python scripts are run by its own python.exe, while all other python
scripts are run by the system's python.

This is likely not possible under Windows. *sigh*

However, since the python script I use most (midi2ly) doesn't work on
Windows anyway (fortunately, my main system is a Linux box, where
everything -- more or less -- just works), I think I'll just kill
LilyPond's registry key and see what happens ...

Regards,
Fred

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Re: Windows registry, Python, and LilyPond

[Frederick Bartlett]

Well, yes ... but why would I want LilyPond's python to run a script
instead of the system's python?

Perhaps I'm just not advanced enough a LilyPond user 

Fred


On 12 September 2013 10:22, Phil Holmes  wrote:

> **
> I believe it allows you to type progname.py at the command line, and have
> LilyPond's python run the script.
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* Frederick Bartlett 
> *To:* Phil Holmes 
> *Cc:* lilypond-user@gnu.org
> *Sent:* Thursday, September 12, 2013 3:16 PM
> *Subject:* Re: Windows registry, Python, and LilyPond
>
>Oh, sorry! 2.16.2
>
> I have since found that I can run python scripts from the command line by
> typing, say,
>   python myscript.py
>
> While just typing
>   myscript
> produces an error, even though the Windows file association has been set
> to c:\Python27\python.exe.
>
> This seems, if anything, weirder than my last message. It's clearly a
> Windows problem ... I'm just hoping a LilyPonder will be able to explain
> the function of the LilyPond python registry key.
>
> Thanks again!
> Fred
>
>
> On 12 September 2013 10:09, Phil Holmes  wrote:
>
>> **
>> Which LilyPond version?
>>
>> --
>> Phil Holmes
>>
>>
>>
>> - Original Message -
>> *From:* Frederick Bartlett 
>> *To:* lilypond-user@gnu.org
>> *Sent:* Thursday, September 12, 2013 2:32 PM
>> *Subject:* Windows registry, Python, and LilyPond
>>
>>   All,
>>
>> I just installed LilyPond on a new laptop (same OS -- Windows 7 -- as
>> before), but this time the registry entry
>> HKCR\Python\shell\open\command\(Default), which is set to C:\Program
>> Files\LilyPond\usr\bin\python.exe , interferes with my path to my
>> Python installation in C:\Python27.
>>
>> There seem to have been problems regarding the registry in the past, but
>> not exactly like the one I've encountered ... does anyone have handy info
>> on how to convince Windows to let LilyPond run its own python while
>> everything else runs my python?
>>
>> Thanks!
>> Fred
>>
>> --
>> “To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
>> State of the United States of America, in response to Senator Barbara
>> Boxer, 3 Sep 2013
>>
>> --
>>
>> ___
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>>
>
>
> --
> “To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
> State of the United States of America, in response to Senator Barbara
> Boxer, 3 Sep 2013
>
>


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Re: Windows registry, Python, and LilyPond

[Frederick Bartlett]

Oh, sorry! 2.16.2

I have since found that I can run python scripts from the command line by
typing, say,
  python myscript.py

While just typing
  myscript
produces an error, even though the Windows file association has been set to
c:\Python27\python.exe.

This seems, if anything, weirder than my last message. It's clearly a
Windows problem ... I'm just hoping a LilyPonder will be able to explain
the function of the LilyPond python registry key.

Thanks again!
Fred


On 12 September 2013 10:09, Phil Holmes  wrote:

> **
> Which LilyPond version?
>
> --
> Phil Holmes
>
>
>
> ----- Original Message -
> *From:* Frederick Bartlett 
> *To:* lilypond-user@gnu.org
> *Sent:* Thursday, September 12, 2013 2:32 PM
> *Subject:* Windows registry, Python, and LilyPond
>
>   All,
>
> I just installed LilyPond on a new laptop (same OS -- Windows 7 -- as
> before), but this time the registry entry
> HKCR\Python\shell\open\command\(Default), which is set to C:\Program
> Files\LilyPond\usr\bin\python.exe , interferes with my path to my
> Python installation in C:\Python27.
>
> There seem to have been problems regarding the registry in the past, but
> not exactly like the one I've encountered ... does anyone have handy info
> on how to convince Windows to let LilyPond run its own python while
> everything else runs my python?
>
> Thanks!
> Fred
>
> --
> “To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
> State of the United States of America, in response to Senator Barbara
> Boxer, 3 Sep 2013
>
> --
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>


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Windows registry, Python, and LilyPond

[Frederick Bartlett]

All,

I just installed LilyPond on a new laptop (same OS -- Windows 7 -- as
before), but this time the registry entry
HKCR\Python\shell\open\command\(Default), which is set to C:\Program
Files\LilyPond\usr\bin\python.exe , interferes with my path to my
Python installation in C:\Python27.

There seem to have been problems regarding the registry in the past, but
not exactly like the one I've encountered ... does anyone have handy info
on how to convince Windows to let LilyPond run its own python while
everything else runs my python?

Thanks!
Fred

-- 
“To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
State of the United States of America, in response to Senator Barbara
Boxer, 3 Sep 2013
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Attaching fermata to whole rest gives programming error

[Frederick Bartlett]

All,

I'm using 2.16.1 on Linux, writing in 3/4, and trying to attach a fermata
to a whole rest. That is, r4\fermata is no problem, but R1 * 3/4\fermata
generates the following message on compilation:

programming error: Object is not a markup.
continuing, cross fingers
This object should be a markup: ()


Any idea what's happening here?

Somewhat relatedly, is there any way to center a fermata over a tremolo?
That is, something like

\repeat tremolo 12 { c32 c'}\fermata


which currently will not compile. I've certainly seen music which has this
feature, so I think it's worth handling ...

Thanks!
Fred
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Re: Aligning multiple verses to alternative notes in the melody

[Frederick Bartlett]

-- Forwarded message --
From: Frederick Bartlett 
Date: 18 December 2012 11:25
Subject: Re: Aligning multiple verses to alternative notes in the melody
To: Phil Holmes 


Phil,

I guess I'm not being clear. And it can confuse the unwary singer!

Imagine that there are substantial variations in the number of syllables in
the lyrics between verses. So one verse might have "you" against a half
note, while the next would have "egotistical twerp" against a run of five
sixteenths and a dotted eighth.

I want to set both sets of notes in a single staff for the voice and the
lyrics of the two verses to align correctly to each set, thus:

{
  \new Staff
  <<
\override Score.LyricText #'self-alignment-X = #LEFT
\new Voice = "Upper" { \voiceOne
  a'4 b'2 a'4 g'4
}
\new Lyrics \lyricsto "Upper" { to you, my love }
\new Voice = "Lower"  { \voiceOne
  a'4 \voiceTwo b'16 b' d'' b' b' b'8. \voiceOne a'4 g'4
}
\new Lyrics \lyricsto "Lower" { the e -- go -- tis -- ti -- cal twerp I
love }
  >> % Staff end
}

But I'd like to do it without generating warnings and without repeating
identical notes between voices, as above, while keeping the precise
alignment of notes and syllables.

Does that make it any clearer?

Thanks again,
Fred

On 18 December 2012 10:52, Phil Holmes  wrote:

> **
> So the singers have different lyrics but the same note?  If I was trying
> to sing that, I would find it very confusing.
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* Frederick Bartlett 
> *To:* Phil Holmes 
> *Cc:* lilypond-user@gnu.org
> *Sent:* Tuesday, December 18, 2012 3:37 PM
> *Subject:* Re: Aligning multiple verses to alternative notes in the melody
>
> Phil,
>
> Thanks -- I guess I could, but that's a bit kludgey* as well. Since I
> don't want stems in both directions for those notes which don't change, I'd
> have to use
>
> \new Voice = "Lower"  {
>   s4  s4  \voiceTwo  a'8 a'8 \voiceOne a'4
>   a'4 \voiceTwo a'8 a'8 \voiceOne a'4 a'4
> }
>
> which works, but emits warnings for every note with identical stems in
> each voice: "warning: ignoring too many clashing note columns".
>
> It does look OK, though ... and I can ignore the warnings. I hope.
>
> Thanks again,
> Fred
>
> *kludgey, thy name is lilypond
>
> On 18 December 2012 10:18, Phil Holmes  wrote:
>
>> **
>> Why not just use 2 voices and skips?
>>
>> {
>>   \new Staff
>>   <<
>> \new Voice = "Upper" {
>>   a'4 a'4 \voiceOne  a'4 a'4
>>   a'4 a'4 a'4 a'4
>> }
>> \new Lyrics \lyricsto "Upper" {  a b c d e f g h  }
>> \new Voice = "Lower"  {
>>   s4  s4  \voiceTwo  a'8 a'8 a'4
>>   a'4 a'8 a'8 a'4 a'4
>> }
>> \new Lyrics \lyricsto "Lower" { a b c d e f g h }
>>   >> % Staff end
>> }
>>
>> --
>> Phil Holmes
>>
>>
>>
>> - Original Message -
>> *From:* Frederick Bartlett 
>> *To:* lilypond-user@gnu.org
>> *Sent:* Tuesday, December 18, 2012 2:44 PM
>> *Subject:* Aligning multiple verses to alternative notes in the melody
>>
>> Hi!
>>
>> I have a song with irregular verses; I want to show the alternative notes
>> in the melody and align some verses to one alternative and some to the
>> other.
>>
>> I can come close by using '_' and the "divisi lyrics" instructions, but
>> the alignment is not perfect.
>>
>> What I want is something like this:
>>
>> 4 4 4/8 8 4 | 4 4/8 8 4 4
>> a b c d   e f g h
>> a   b c   d e   f g h
>>
>> where '4's are quarter notes, '8's are eighth notes, and '4/8's are both.
>>
>> Here's a snippet:
>>
>> firstVerse = \lyricmode {  a b c d e f g h }
>>
>> skippy = #(define-music-function (parser location syllables) (number?)
>>#{ \repeat unfold $syllables { \skip 1 } #})
>>
>> LL = { \once \override LyricText #'self-alignment-X = #LEFT }
>>
>> secondVerse = \lyricmode { \skippy 2 \LL a_b c d \LL e_f g h }
>>
>> melodyMusic = \relative c'' {  c4 c4 << { \voiceOne c4 } \new Voice =
>> "split" { \voiceTwo c8 [ c8 ] } >> c4 | c4 << { \voiceOne c4 } \new Voice =
>> "split" 

Re: Aligning multiple verses to alternative notes in the melody

[Frederick Bartlett]

Phil,

Thanks -- I guess I could, but that's a bit kludgey* as well. Since I don't
want stems in both directions for those notes which don't change, I'd have
to use

\new Voice = "Lower"  {
  s4  s4  \voiceTwo  a'8 a'8 \voiceOne a'4
  a'4 \voiceTwo a'8 a'8 \voiceOne a'4 a'4
}

which works, but emits warnings for every note with identical stems in each
voice: "warning: ignoring too many clashing note columns".

It does look OK, though ... and I can ignore the warnings. I hope.

Thanks again,
Fred

*kludgey, thy name is lilypond

On 18 December 2012 10:18, Phil Holmes  wrote:

> **
> Why not just use 2 voices and skips?
>
> {
>   \new Staff
>   <<
> \new Voice = "Upper" {
>   a'4 a'4 \voiceOne  a'4 a'4
>   a'4 a'4 a'4 a'4
> }
> \new Lyrics \lyricsto "Upper" {  a b c d e f g h  }
> \new Voice = "Lower"  {
>   s4  s4  \voiceTwo  a'8 a'8 a'4
>   a'4 a'8 a'8 a'4 a'4
> }
> \new Lyrics \lyricsto "Lower" { a b c d e f g h }
>   >> % Staff end
> }
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* Frederick Bartlett 
> *To:* lilypond-user@gnu.org
> *Sent:* Tuesday, December 18, 2012 2:44 PM
> *Subject:* Aligning multiple verses to alternative notes in the melody
>
> Hi!
>
> I have a song with irregular verses; I want to show the alternative notes
> in the melody and align some verses to one alternative and some to the
> other.
>
> I can come close by using '_' and the "divisi lyrics" instructions, but
> the alignment is not perfect.
>
> What I want is something like this:
>
> 4 4 4/8 8 4 | 4 4/8 8 4 4
> a b c d   e f g h
> a   b c   d e   f g h
>
> where '4's are quarter notes, '8's are eighth notes, and '4/8's are both.
>
> Here's a snippet:
>
> firstVerse = \lyricmode {  a b c d e f g h }
>
> skippy = #(define-music-function (parser location syllables) (number?)
>#{ \repeat unfold $syllables { \skip 1 } #})
>
> LL = { \once \override LyricText #'self-alignment-X = #LEFT }
>
> secondVerse = \lyricmode { \skippy 2 \LL a_b c d \LL e_f g h }
>
> melodyMusic = \relative c'' {  c4 c4 << { \voiceOne c4 } \new Voice =
> "split" { \voiceTwo c8 [ c8 ] } >> c4 | c4 << { \voiceOne c4 } \new Voice =
> "split" { \voiceTwo c8 [ c8 ] } >> c4 c4 \bar "|." }
>
> \new Staff = "voice" <<
>   \new Voice = "melody" << \voiceOne \global \melodyMusic>>
>   \new Lyrics \lyricsto "melody" \firstVerse
>   \new Lyrics \lyricsto "melody" \secondVerse
> >>
>
> Thanks!
> Fred
>
> --
>
> ___
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>
>


-- 
We must learn to honor excellence in every socially accepted human
activity, however humble the activity, and to scorn shoddiness, however
exalted the activity. An excellent plumber is infinitely more admirable
than an incompetent philosopher. The society that scorns excellence in
plumbing because plumbing is a humble activity and tolerates shoddiness in
philosophy because it is an exalted activity will have neither good
plumbing nor good philosophy. Neither its pipes nor its theories will hold
water.
*--John Gardner, "Excellence" (h/t, The Underground Grammarian)*
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Why can't I force an hshift?

[Frederick Bartlett]

Hi!

I'm setting part 2 of BWV142 in a piano-vocal version (Petrucci
PDF,
p. 3), and am having trouble getting the voices to print correctly in the
piano part when they change staves. In 'bassOneMusic' below, the g at the
end of m6 and the fis beginning m7 should both be shifted a bit, but my use
of force-hshift is not having any effect.

What am I doing wrong?

Thanks!
Fred


%%% extracted short sample
\version "2.14.1"

bassOneToTrebleTwo = { \change Staff = "treble" \voiceTwo  }
trebleTwoToBassOne = { \change Staff = "bass" \voiceOne }
hR = { \once \override NoteColumn #'force-hshift = #0.5 }

global = {
  \key c\major
  \time 4/4
  \override Hairpin #'to-barline = ##f
  \mergeDifferentlyDottedOn
}

trebleOneMusic = \relative c''' {
  a8 e fis a g!4 e4 ~ | % 6 % end sys 3
  e dis e r | % 7
}

trebleTwoMusic = \relative c'' {
  c8 c c b16 a b4 b | % 6 % end sys 3
  c b 8 e e e | % 7
}

bassOneMusic = \relative c' {
  e8 a, a a e'4 \bassOneToTrebleTwo \hR g | % 6 % end sys 3
  \hR fis2 \trebleTwoToBassOne e8 e d! [ c16 b ] | % 7
}

bassTwoMusic = \relative c' {
  a4. g!16 fis g4. fis16 e | % 6 % end sys 3
  a8 [ g16 fis ] b8 b, e8 c' b [ a16 gis ] | % 7
}

\score {
  <<
\new PianoStaff <<
  \new Staff = "treble" \with {
%%%\override RestCollision #'positioning-done =
#merge-rests-on-positioning
  } <<
\new Voice = "treble1" << \voiceOne \global \trebleOneMusic >>
\new Voice = "treble2" << \voiceTwo \global \trebleTwoMusic >>
  >>
  \new Staff = "bass" \with {
%%%\override RestCollision #'positioning-done =
#merge-rests-on-positioning
  } <<
\clef bass
\new Voice = "bass1" << \voiceOne \global \bassOneMusic >>
\new Voice = "bass2" << \voiceTwo \global \bassTwoMusic >>
  >>
>>
  >>
  \layout {
\context {
  \Staff
}
  }
}


-- 
The things that make us happy make us wise.
-- John Crowley, Little, Big
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How does lilypond choose fonts?

[Frederick Bartlett]

Hi!

I'm using lilypond 2.14.1 under CygWin 2.7, and have a large number of
fonts I've accumulated over the decades.

I have set up my lilypond files to use fonts I like in \paper:

  #(define fonts
(make-pango-font-tree "Centaur MT"
  "ITC Eras"
  "Prestige Elite"
   (/ myStaffSize 20)))

And this works exactly as expected, so long as I use standard ASCII
characters. Once I add Cyrillic (e.g., "Был у Хри -- ста, мла -- ден -- ца
сад,"), lilypond starts using Verdana.

I think I understand why -- the three old PFB fonts I selected don't
support Unicode. But I can't figure out how lilypond figured out that it
needed to override my font choice or how it chose the font it did
(Verdana). I would like to convince lilypond to use Times New Roman or
Garamond.

All clues gratefully received!
Thanks,
Fred



-- 
The things that make us happy make us wise.
-- John Crowley, Little, Big
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context-sensitive or redefinable variables

[Frederick Bartlett]

In setting an a cappella SATB piece and the (generated) rehearsal piano
part, I would like to create two PDF files with different linebreaks.

Each part has many occurrences of a variable "midBarBreak" defined as { \bar
"" \break } so as to break up the vocal lines at the end of the lines of the
set verse. This works just fine.

Unfortunately, lilypond seems to process variables upon first reading them,
so I can't use the old TeX trick of \let \this \that; nor does \noexpand
have a lilypond cognate that I can find. Nor yet do I see any way to
incorporate logic into the variable (e.g., if in ChoirStaff, break; if in
PianoStaff, ignore). I suspect it's there, somewhere, but I'm not enough of
a schemer to see how to use, e.g., ly:context-parent.

So, since TeXish methods don't work, I thought I'd ask if there's a
lilypondish way to do this.

Thanks in advance,
Fred

-- 
The things that make us happy make us wise.
-- John Crowley, Little, Big
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