Re: Sharing my LilyPond "system"

[Kevin Cole]

I'm a rank -- very rank ;-) -- amateur when it comes to reading music,
music theory, and LilyPond. In fact, I may be somewhat dyslexic given the
troubles I've had with various types of printed information -- musical or
otherwise.

So, my main use for LilyPond has been s-l-o-w-l-y, painfully, transcribing
the wee squiggles I see, then generating the MIDI to listen to, so that I
can play by ear. It's worked out pretty well, and I am becoming a wee bit
faster at it.

So, the templates I have, probably aren't going to help anyone here.
Nonetheless, in the spirit of the previous posts in this thread, which I
may learn something from, I offer my very few, very modest efforts, which
I'm sure could be improved upon.

Four small, simple templates, plus two "macros" for deciding my formatting
-- one for SVG another for PDF -- plus Grey Larsen's Irish "ornaments",
which I didn't write. It was posted to this list (Copyright © 2014, Bret
Pimentel. http://bretpimentel.com) but, since the Irish template
automatically includes it, I figured I would include it here again.

The templates have some "Lorem Ipsum" junk in them so that when I start
editing, I can replace the random stuff with meaningful stuff. It's more of
a guide for me. Also there's a bit of redundancy with regard to the SVG vs.
PDF: Some of the templates have the "old way" in addition to the snippet
that decides, based on what is passed to LilyPond on the command line,
which macro (svg.ily or pdf.ily) to use.
<>

Can arbitrary text strings be embedded in the MIDI output?

[Kevin Cole]

I notice that when I use timidity to play a MIDI file generated by
LilyPond, it prints:

Text: creator:
Text: LilyPond 2.24.2

and also "Sequence:", "Instrument:" "Track name:" and, if I use
\sectionLabel, the label text gets shown as "([label])".

Can I include my own text strings in the generated MIDI?

Re: Is there a clever way to reverse a score?

[Kevin Cole]

On Sat, Jul 27, 2024 at 6:25 AM Kieren MacMillan <
kie...@kierenmacmillan.info> wrote:

> Hi Kevin,
>
> > As I experiment, I've thought about playing my wee and few compositions
> backwards. I'm wondering if someone's already come up with a relatively
> simple way to reverse the order of the notes in a score.
>
>
> https://lilypond.org/doc/v2.24/Documentation/notation/changing-multiple-pitches#retrograde
> ?
> 
> ?
>
> Hope that helps!
>

It does indeed! My musical vocabulary is lacking. I had no idea what to
call "reversing the score". Thanks, Kieren!

(And I see "inversion" on the same page, which I may fool around with as
well, once I get the full grasp of how it "flips things upside-down".)

Is there a clever way to reverse a score?

[Kevin Cole]

As I experiment, I've thought about playing my wee and few compositions
backwards. I'm wondering if someone's already come up with a relatively
simple way to reverse the order of the notes in a score.

Is there a more complete predefined-guitar-fretboards.ly?

[Kevin Cole]

Hi.

I'm currently using 2.24.2.

I'm not a guitarist, and most of the people I play with are by their
own admission rather amateur.

For most tunes that I transcribe the built-in
"predefined-guitar-fretboards.ly" and, on one occasion,
"predefined-guitar-ninth-fretboards.ly" get the job done. But on a few
occasions I've had to resort to studying some online tutorial and
constructing the diagrams from scratch.

Being lazy, I'm wondering if there is a particularly popular
reinvention of this wheel that doesn't come with the stock packaging
-- or a set of such files all bundled together.

(Yes, I know: Lots of fingerings / voicings, but the fact that there's
already a predefined-guitar-fretboards.ly" suggests that there are
some common favorites, and as I mentioned most of my friends are
"amateur" and generally inclined to use easier fingerings and rely on
whatever the diagrams tell them.)

Thanks!

Re: Lilypond and digital readers

[Kevin Cole]

This is similar to something I learned to do from this list. Thank you,
list wizards.

I generate scores for both printing (paginated PDFs) and displaying on a
website generated by the Sphinx documentation system (unpaginated SVGs).
Sometimes, I want to regenerate ALL the scores. So I have a Bash script to
do the work and a command-line argument that determines which type  (PDF or
SVG) will be generated. I have two include scripts: svg.ily and pdf.ily
(which I keep in ~/.local/lib/lilypond/). In all of my Frescobaldi
templates, I have the lines:


% Use environment variable to decide if discrete pagination (PDF) or
% continuous pagination (SVG). Default to SVG if not defined.
%
pageBreaking = #(string-append (getenv "HOME") "/.local/lib/lilypond/" (if
(getenv "PAGE_BREAKING") (getenv "PAGE_BREAKING") "svg") ".ily")
\include \pageBreaking


Then, in my Bash scripts, I can have code like:

###
for source in $(find . -name "*.ly")
do
  PAGE_BREAKING=svg lilypond --svg $source
  # ... generate MP3 from MIDI, reduce SVG size, etc.
done
###

The two include files:

pdf.ily:
%
% PDF
% 8.5" x 11" (Letter) page size
%

\paper {
  #(include-special-characters)
  #(set-paper-size "letter")
  print-page-number = ##f
  ragged-last-bottom = ##t
}
%

svg.ily:
%%%
% Web SVG (Sphinx Cloud theme):
% One long continuous page
%

#(ly:set-option 'backend 'cairo)
\paper {
  #(include-special-characters)
  oddHeaderMarkup = \markup \null
  evenHeaderMarkup = \markup \null
  page-breaking = #ly:one-page-breaking

  #(define fonts
 (set-global-fonts
  #:roman "Open Sans"
  #:sans "Open Sans"
  #:typewriter "DejaVu Sans Mono"
  ; unnecessary if the staff size is default
  #:factor (/ staff-height pt 20)
  ))
}
%%%

Re: In 2.24, EADG string tuning for bass guitar tablature?

[Kevin Cole]

On Tue, Jan 30, 2024 at 12:38 PM Aaron Hill  wrote:
>
> Ok, the source does just use the standard EADG tuning.

I was wondering. As I say, I don't play it, but when I looked around
it seemed like there was no need to specify an explicit tuning, since
it seemed very common in my cursory research.

> But the reason mandolin-tuning did not work is that the strings are
> tuned too high for the notes.  Compare from string-tunings-init.ly:
>
> 
> \makeDefaultStringTuning #'bass-tuning \stringTuning 
> \makeDefaultStringTuning #'mandolin-tuning \stringTuning 
> 

> Now LilyPond is going to prefer fretting closer to the nut, so you will
> need to use string numbers to get the output to match the source
> tablature which is the ideal fretting position for that measure.
>
> And be careful with the \clef command being inside the \riff music
> variable.  TabStaff has its own specialized clef for printing the word
> "TAB".  You'll only want to apply the \clef to the Staff.
>
> 
> \version "2.22.0"
> \language "english"
>
> riff = \relative {
>\time 5/4
>c8\2[ g8\3] r8 c,8\4 ds8\4[ g8\3] f4\3 f'8\1 r8
> }
>
> \score {
>\new StaffGroup <<
>  \new Staff \with { \omit StringNumber } { \clef "bass_8" \riff }
>  \new TabStaff \with { stringTunings = #bass-tuning } { \riff }
>>>
> }
> 
>
> (StaffGroup will also get you that nice bracket out front.)

Thanks! It now looks (and as close as MIDI can) sounds pretty good to me.

Re: In 2.24, EADG string tuning for bass guitar tablature?

[Kevin Cole]

> Are you able to provide a link to the source score?  If it shows both
> the tablature as well as standard notation, it should be pretty easy to
> verify the intended tuning.

A newer MWE plus images that illustrate my question... a bit:


\version "2.24.2"
\language "english"

riff = \relative {
  \time 5/4
  \clef "bass_8"% I assume from examples that's right.
  c8[ g8] r8 c,8 ds8[ g8] f4 f'8 r8
}

\score {
\new Staff
  <<
\new Voice\with { \omit StringNumber }   \riff
\new TabStaff \with { stringTunings = #bass-tuning } \riff
  >>
}


original.png is what I'm copying from and mwe.png is what the above produces.

NOTE: I've changed mandolin-tuning back to bass-tuning.

In 2.24, EADG string tuning for bass guitar tablature?

[Kevin Cole]

I don't play bass guitar and my music theory-fu leaves a lot to be
desired, but I am attempting to transcribe from an existing score that
shows a tablature staff explicitly saying that it uses EAGD tuning.
After poking around a bit, I found that the mandolin uses the same
tuning (? I don't play any stringed instruments. So maybe that's not
right.)

When I attempt to change:

\new TabStaff \with { stringTunings = #bass-tuning } \riff

to:

\new TabStaff \with { stringTunings = #mandolin-tuning } \riff

the TabStaff goes blank.

The 2.25 documentation page suggests it should work, there is no
corresponding 2.24 documentation page, yet there is no indication that
there was a change in this area between 2.24 and 2.25 in the changes
documentation.

https://lilypond.org/doc/v2.25/Documentation/notation/custom-tablatures
https://lilypond.org/doc/v2.24/Documentation/notation/custom-tablatures
- 404 not found
https://lilypond.org/doc/v2.25/Documentation/changes-big-page

Here's what I came up with as an MWE:

%%
\version "2.24.2"

riff = \relative {
  \clef "bass_8"% I assume from examples that's right.
  c,4 d e f
}

\score {
\new Staff
  <<
\new Voice\with { \omit StringNumber }   \riff
\new TabStaff \with { stringTunings = #mandolin-tuning } \riff
  >>
}
%%

Re: Error/warning when creating a piano reduction with lilypond 2.25.7 and frescobaldi 3.3.0

[Kevin Cole]

On Mon, Jan 15, 2024 at 6:26 AM Bernhard Kleine  wrote:

> The following MWE gave a warning
>
> C:/Users/bk/AppData/Local/Temp/frescobaldi-n7fp9iem/tmp_isr57mt/document.ly:52:25:
>  Warnung: deprecated: missing `.' in property path StaffSymbol.staff-space
>
> I think maybe the frescobaldi is not aware of changes to this lilypond 
> version. What do I have change to make the score compile without this warning?

I'm FAR from an expert, but the few times I've encountered errors like
that, the error message basically seems to tell me what I should do,
albeit not in the clearest way.

Does changing StaffSymbol #'staff-space to StaffSymbol.staff-space fix
the problem?

(Or am I misunderstanding your question?)

I note, as I often do, too many older versions of documentation --
apparently, from 2.13 to 2.24, with the documentation for 2.25 not
there yet. But this page for 2.24 suggests to me, the change that the
error message suggested...

https://lilypond.org/doc/v2.24/Documentation/snippets/spacing

Is there a property that would set all of the "above staff" text to "above chordnames"

[Kevin Cole]

Or vice versa?

What I mean is, I often have a situation where there's only a wee bit
o' text occasionally, above the staff. But I frequently have
ChordNames. It seems to me that the ChordNames would be better placed
below the occasional text, and I was hoping that, rather than manually
adjusting and specifying how far to adjust the occasional text, there
would be some other property that would set the order, keeping
ChordNames more intimately tied to the Staff that appears below it.

Another solution that would suit me would be for \chordmode to allow
associating text with a chord name -- e.g. something like

d2:m^\markup "put me above the chordname"

The following illustrates the problem.

%%%
\version "2.24.2"
\language "english"

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

chordNames = \chordmode {
  \global
  f2 d2:m | c4 s4 c8 g8:7 c4 | g4 c4 f4 c4 | g4 s4 g2:7| %  9 - 12
}

melody = \relative c'' {
  \global
  \clef treble
  a2^\markup \bold "CHORUS" f2 | %  9
  g4 g4 g8[ f8] e4 | % 10
  d4. e8 f4 e4 | % 11
  d4 b4 g2 | % 12
}

\score {
  <<
\new ChordNames \chordNames
\new Voice = "mel" { \melody }
  >>

  \layout {
\autoBeamOff
indent = 0\mm
  }
}
%%%

Re: How do I shift notes in one voice w/o shifting the other?

[Kevin Cole]

On Wed, Nov 29, 2023 at 4:05 PM Knute Snortum  wrote:

> The original is odd.  It has a half note where a quarter note should be.  But 
> if you want to reproduce it exactly, see my code below.  No need for 
> temporary voices.

Another wrote to me privately suggesting that the original that I'm
copying from was more than likely just plain wrong, saying essentially
what you've just said. That hadn't occurred to me, but after it was
pointed out, my wee brain said "O. That makes sense." Not being a
music reader, I am slow to pick up on such things, and only know upon
MIDI playback that something sounds off. So, now with two votes for
"half-notes there are wrong / odd" I'm going to transcribe it with
quarter-notes there, listen to the MIDI and, if it sounds okay, leave
them as quarter-notes.

Thanks!

How do I shift notes in one voice w/o shifting the other?

[Kevin Cole]

I searched for a way to shift notes horizontally but when I shift the
half-note chord in the first voice below, it shifts the second eighth-note
in the second voice, forcing it to stay to the right of the half-note. When
I tried adding something to shift the beamed eight-notes to the left, it
shifted only the first eighth-note, continuing to anchor the second to the
right of the half-note.

What I want is for the two eighth-notes to stay to the left, and for the
half-note to appear to the right of it.

This is what I have at the moment, with the shift commented out. (The "#10"
is just an experiment, not necessarily the final value.)

%%%
  <<
{
% \once \override NoteColumn.force-hshift = #10
  2~|
  4\fermata s4   |
}
\\
{
  d'8[ b8] s4   |
  s4 d4 |
}
  >>
  \bar "|."
%%%

Re: How do I arpeggiate across voices?

[Kevin Cole]

On Mon, Nov 27, 2023 at 11:16 AM Michael Werner  wrote:

> On Mon, Nov 27, 2023 at 7:43 AM Kevin Cole  wrote:
>
>> Thanks. Not sure how I missed that in my search... That seems the best
>> answer -- though, alas, the MIDI arpeggiator cannot take advantage of it.
>> (I may be able to suss that out "the hard way" manually though.)
>>
>
> Sorry, but MIDI is an area I know almost nothing about, as I almost never
> use it. My main focus is hardcopy.  Best I can come up with is to do
> something a little like what is shown in
>
>
>> MIDI arpeggiator:
>> https://lists.gnu.org/archive/html/lilypond-user/2020-12/msg00036.html
>>
>
> It would involve basically making a parallel version of your music that,
> while not looking like what you want the printed output to look like, will
> sound right (or close to it) once run through the MIDI system.
>

That's essentially the direction I've gone. (I already regularly split /
duplicate the score into a print layout version and a MIDI version. It's
just a matter of figuring out what, if anything, will sound "right" to
my amateur ear.)

Re: How do I arpeggiate across voices?

[Kevin Cole]

On Mon, Nov 27, 2023 at 12:33 AM Michael Werner  wrote:

> Hi Kevin,
>
> On Sun, Nov 26, 2023 at 7:38 PM Kevin Cole  wrote:
>
>> I'm looking at a pice of music that shows an arpeggio between two
>> dotted half-notes in one voice and a quarter-note in the other voice.
>> Specifically, in the wee snippet below, the first e4 in the first
>> voice is at the top of the arpeggio above the 2 in the second
>> voice.
>>
>
> Having a look at
> http://lilypond.org/doc/v2.25/Documentation/notation/arpeggio#index-arpeggio_002c-cross_002dvoice
> it turns out there's a Span_arpeggio_engraver you can add to take care of
> this. Also, a Staff.connectArpeggios property to set. Adding those in, your
> example becomes:
>
Thanks. Not sure how I missed that in my search... That seems the best
answer -- though, alas, the MIDI arpeggiator cannot take advantage of it.
(I may be able to suss that out "the hard way" manually though.)

MIDI arpeggiator:
https://lists.gnu.org/archive/html/lilypond-user/2020-12/msg00036.html
https://lists.gnu.org/archive/html/lilypond-user/2020-12/msg00039.html

How do I arpeggiate across voices?

[Kevin Cole]

I'm looking at a pice of music that shows an arpeggio between two
dotted half-notes in one voice and a quarter-note in the other voice.
Specifically, in the wee snippet below, the first e4 in the first
voice is at the top of the arpeggio above the 2 in the second
voice.

%%
  <<
{
  e4 e4 b4   | %  1
  e2 b8[ b8] | %  2
}
\\
{
  2.\arpeggio | %  1
  \stemUp gs2 \stemNeutral s4| %  2
}
  >>
%%

Re: Conditional Complilation

[Kevin Cole]

On Tue, Nov 14, 2023 at 8:09 PM Ken Ledeen  wrote:

> Hi All,
>
> From time to time I would like to include / exclude portions of the total
> score. For now, in the crudest of ways, I just comment out the parts I
> don't want (%{ . %}).  That works, of course, but I was wondering if
> there was a more elegant way.
>
> Ideally I would have some variable that I set to boolean #t or #f to
> indicate what I want included.  Then, instead of the  %{  %} if would
> be something like
>
> if includeFlag {   ...   }
>
> Then I wouldn't have to search around for where I'd included the comment
> start and end brackets.
>
> I found the scheme if function but it didn't seem like an option.
>
> Many thanks in advance
>

Ooh, ooh! A chance to share something that I've been taught here! ;-) Not
quite what you're looking for but it may give you ideas...

In my case, I have a lot of LilyPond files that I recompile too often --
mostly because I learn some more clever way of doing something and then go
back and change all of the old files. But, sometimes I want PDFs with a set
page size for printing, and sometimes I want SVGs with infinitely
long pages for the web. So a conditional based on an environment variable
which is set based on an argument to the Bash script. So, a conditional
expression and an include based on the value of the variable constructed:

%%%

% Use environment variable to decide if discrete pagination (PDF) or
% continuous pagination (SVG). Default to SVG if none defined.
%
pageBreaking = #(string-append (getenv "HOME") "/.local/lib/lilypond/"
(if (getenv "PAGE_BREAKING") (getenv "PAGE_BREAKING")
"svg") ".ily")
\include \pageBreaking

%%%

Re: Is there a simple way to append markup to a chordname in chordmode?

[Kevin Cole]

On Sun, Nov 12, 2023 at 6:01 AM Robin Bannister  wrote:
> Kevin Cole wrote:
>
> > I would like to use F. Bb and Am as the "real" chords and append "(C)",
> > "(F)" and "(Em)" as text.
>
> This may help:
> https://lists.gnu.org/archive/html/lilypond-user/2022-11/msg00416.html
>
> Cheers,
> Robin

Thanks! Following that thread, the winning solution for me was
Jean Abou Samra's response (Mon, 28 Nov 2022 01:22:04 +0100)

https://lists.gnu.org/archive/html/lilypond-user/2022-11/msg00425.html

Re: Is there a simple way to append markup to a chordname in chordmode?

[Kevin Cole]

On Sat, Nov 11, 2023 at 2:48 PM Kevin Cole  wrote:
>
> I am transcribing a score that has alternate guitar chords listed for 
> capo'ing. For example,
>
> F(C) Bb(F)Am(Em)
>
> I would like to use F. Bb and Am as the "real" chords and append "(C)", "(F)" 
> and "(Em)" as text. I'm hoping to avoid attaching "F(C)" etc. as arbitrary 
> text, to notes in the melody, but instead find some way to attach the 
> arbitrary text to the chord name without "disturbing the nature" of it being 
> a chord.

Also, in a few locations the chords are preceded by asterisks
referring to footnotes -- though I'm much less concerned about those.
For example:

*Dm**Am***Gm
...
  * As performed: C(G)
 ** As performed: F(C) is retained
*** As performed: Bb(F) is retained

Is there a simple way to append markup to a chordname in chordmode?

[Kevin Cole]

I am transcribing a score that has alternate guitar chords listed for
capo'ing. For example,

F(C) Bb(F)Am(Em)

I would like to use F. Bb and Am as the "real" chords and append "(C)",
"(F)" and "(Em)" as text. I'm hoping to avoid attaching "F(C)" etc. as
arbitrary text, to notes in the melody, but instead find some way to attach
the arbitrary text to the chord name without "disturbing the nature" of it
being a chord.

Re: Is there a glyph? (or something) to indicate a clap in a vocal piece?

[Kevin Cole]

On Mon, Oct 16, 2023 at 1:47 PM Karlin High  wrote:

> I have seen choral works use "X" note heads to indicate claps or
> foot-stomps.
>
> The commands \xNotesOn and \xNotesOff seem worth trying.
>
> 

Aaaand, we have a winner! ;-)

(At least until I get to the MIDI, but I'm feeling confident that I
know how to accomplish that part.)

Just what the doctor ordered.

Thanks!

Re: Is there a glyph? (or something) to indicate a clap in a vocal piece?

[Kevin Cole]

On Mon, Oct 16, 2023 at 8:33 AM David Kastrup  wrote:
>
> Kevin Cole  writes:
>
> > I'm transcribing a pub song, and at one point, there's a lyric
> > "(clap)(clap)" with "X X" on the staff.
> >
> > I've seen that one can have a "\drum {hc4 hc4}" but I want something like a
> > layout of "| e4. a4. | X X g8 |" in 6/8 time all on one staff -- which I
> > guess in MIDI would probably be something like "r8 hc8 r8 hc8 r4" in a drum
> > track (voice?) for that measure with the claps...
>
> Something like
>
> \new OneStaff {
>   \new Staff {
> \time 6/8
> e4. a4. |
> \drums \with { \omit TimeSignature } { r8 hc8 r8 hc8 r4 } |
> a2.
>   }
> }
>
> maybe ?

Thanks. A step in the right direction, but now I have the lyrics in
the center of the staff, and the "(clap) (clap)" in the lyrics
skipping over the drum claps. See attached PNG. (Oh, I'm using "s8" in
place of "r8" too, but I'm thinking that isn't a mistake, since I
don't want rests to show up.) The minimum [non]-working example:

%
\score {
  \new OneStaff {
<<
  \new Staff {
\new Voice = "mel" { \melody }
  }
  \new Lyrics \lyricsto mel \words
>>
  }
}
%

Is there a glyph? (or something) to indicate a clap in a vocal piece?

[Kevin Cole]

I'm transcribing a pub song, and at one point, there's a lyric
"(clap)(clap)" with "X X" on the staff.

I've seen that one can have a "\drum {hc4 hc4}" but I want something like a
layout of "| e4. a4. | X X g8 |" in 6/8 time all on one staff -- which I
guess in MIDI would probably be something like "r8 hc8 r8 hc8 r4" in a drum
track (voice?) for that measure with the claps...

Re: Initial rests in MIDI not included?

[Kevin Cole]

On Wed, Sep 27, 2023 at 8:28 AM Jean Abou Samra  wrote:

> Le mercredi 27 septembre 2023 à 08:22 -0400, Kevin Cole a écrit :
> > And... we have a winner! It's a timidity problem!
>
> From what I can read, it is the expected behavior of timidity, but there
> is a --preserve-silence option to change it.
>

Yeah, I was getting to that. ;-) Once it became a timidity issue, I
suspected there would be an option to alter that behavior. It just hadn't
occurred to me that timidity would default to happily ignoring the quiet
bits. Especially since most of my problems end up being a misunderstanding
of LilyPond or music theory. So naturally, I defaulted to those as the
source of my troubles.

Re: Initial rests in MIDI not included?

[Kevin Cole]

On Wed, Sep 27, 2023 at 8:04 AM David Kastrup  wrote:

What is apparent is that it may be a bad idea to first pause a number of
> bars and only then include \global with a different \tempo .
>

Oops. Good catch. Thanks.

But the location of the tempo change aside your principal problem, like
> before, seems to be that timidity as a player skips initial rests.
>

And... we have a winner! It's a timidity problem!

Try fluidsynth -ia pulseaudio -n on your MIDI file as an alternative (on
> my system, I get inexplicable problems with -ia pipewire or -ia alsa)
> instead.
>

Thanks!

Re: Initial rests in MIDI not included?

[Kevin Cole]

I just tried it again with the attached, and still do not get "The Sound of
Silence" ;-)

$ cat mwe.ly
\version "2.24.2"
\language "english"
global = {
  \time 4/4
  \key f \major
  \tempo 4=150
}
PartFour = \relative a {
  \global
  \clef "treble"
  \partial 4 a4
}
\score {
  \new Voice = "PartFour" {
R1*32 R1*24
\repeat unfold 4 {
  \transpose c c,, { \PartFour  }
}
  }
  \midi { }
}

$ lilypond mwe.ly
GNU LilyPond 2.24.2 (running Guile 2.2)
Processing `mwe.ly'
Parsing...
Interpreting music...
MIDI output to `mwe.midi'...
Success: compilation successfully completed

$ timidity mwe.midi
Playing mwe.midi
MIDI file: mwe.midi
Format: 1  Tracks: 2  Divisions: 384
Text: creator:
Text: LilyPond 2.24.2
Track name: \new:PartFour
Playing time: ~5 seconds
Notes cut: 0
Notes lost totally: 0


mwe.midi
Description: MIDI audio
\version "2.24.2"
\language "english"
global = {
  \time 4/4
  \key f \major
  \tempo 4=150
}
PartFour = \relative a {
  \global
  \clef "treble"
  \partial 4 a4
}
\score {
  \new Voice = "PartFour" {
R1*32 R1*24
\repeat unfold 4 {
  \transpose c c,, { \PartFour  }
}
  }
  \midi { }
}

Initial rests in MIDI not included?

[Kevin Cole]

Once again, I'm flummoxed by some syntax problem... I was hoping for 40
measures of silence, as I plan to mix it with other parts, and want to be
able to mute parts interactively. However the following doesn't give me 40
measures of silence, but starts right in on PartTwo. What have I missed
THIS time?

%%%
\version "2.24.2"

PartTwo = \relative a { ... }

\score {
  \unfoldRepeats {
\new Voice = "PartTwo" {
  R1*32 R1*8
  \repeat unfold 4 {
\transpose c c'  { \PartTwo }
  }
}
  }

  \midi { }
}
%%%

How do I set the Scheme sandbox to \language = "english"?

[Kevin Cole]

I'm trying to learn more about Scheme by "playing in the sandbox".

When I tried to convert the string "d" to a pitch, it converted correctly.

When I tried the same thing with "bf" I ended up with what I think is
still a string.

I'm guessing that's because the sandbox is not using English note names.

Is there a variable to set or some sort of "include" that would
convince it to use English note names?

Is there a way to convert -- or evaluate -- a string to a pitch?

[Kevin Cole]

Suppose I have two environment variables FROM_KEY and TO_KEY

and in my lilypond source I have:


fromkey = #(if (getenv "FROM_KEY") (getenv "FROM_KEY") "c")
tokey   = #(if (getenv "TO_KEY")   (getenv "TO_KEY")   fromkey)
...
\transpose \fromkey \tokey { \melody }


I get:

error: wrong type for argument 1.  Expecting pitch, found "c"
error: wrong type for argument 2.  Expecting pitch, found "c"

What am I missing in order to evaluate the string as a pitch?

Is there a way to get a "round" to play in the MIDI without making several staggered identical voices?

[Kevin Cole]

I'm not quite sure how to ask the question.

Is there a way to play the same melody as different voices with different
time offsets -- i.e. without duplicating it and adding rests at the
beginnings of the duplicates? (I only want it in the MIDI part, as the
printed part would only need to display the basic melody once.)

Re: Adding phonetic pronunciation to a staff?

[Kevin Cole]

Michael and Jean, thank you both. It seems I was on the right track, and
now have a bit of refinement to it. I hadn't encountered \after yet.

Adding phonetic pronunciation to a staff?

[Kevin Cole]

I'm not sure I can explain my question well, but here goes:

I'm transcribing a piece that has "mostly" English lyrics under the
staff. It shows two verses (\set stanza "1." and \set stanza "2.")

Between the two, occasionally, there is the phonetic pronunciation of
a non-English word or phrase, in italics. So at the beginning of the
piece, there are two lines, but eventually there are three...
Something like:
___

(Measure 1)
1. Let the farm - er praise grounds ...
2. Im - mor - tal and di - vine ...
...
(Measure 18)
1. ... cruis - cin lan My dar - lin' lit - tle cruis - cin lan
   kroosh - keen lawn kroosh -keen lawn
2. ... cruis - cin lan My dar - lin' lit - tle cruis - cin lan
___

(The middle line is in italics.)

Is there a relatively human-readable, uncomplicated way to achieve
this without making lots of voices for everything? Ideally, I would
just want to have something in a new lyricmode variable that says
"skip 18 measures and then add text following these note durations
without showing any notes and then skip 2 measures, etc". Something
like using "\repeat 18 { s2. } kroosh - keen lawn \repeat 2 { s2. }
kroosh - keen lawn" or

(As I was writing this, I came up with a brute-force trial & error
"solution" using "  \repeat unfold 60 { \skip 1 } some lyrics \repeat
unfold 5 { \skip 1} more lyrics" which works, and is fairly readable
in source code, but perhaps there's an even more readable / better
way.)

Re: Is there a better way to have a boxed part letter at the beginning of an arbitrary line?

[Kevin Cole]

On Wed, Aug 16, 2023 at 2:42 PM Michael Werner  wrote:
>
> Hi Kevin.
>
> It sounds like you might be able to do want you want with rehearsal marks. 
> They're built into Lilypond and do pretty much what you seem to be 
> describing. Details at 
> http://lilypond.org/doc/v2.24/Documentation/notation/bars#index-rehearsal-mark

While this is also good to know about, and I thank you, it turns out
that the \sectionLabel is more of what I'm looking for. In your
example, the boxed text is too far to the right, whereas the
\sectionLabel put the label right above the clef sign, which is what I
was trying to achieve.

(Nonetheless, I'll file this message in my tips drawer as well. I can
see where it may come in handy.)

Re: Is there a better way to have a boxed part letter at the beginning of an arbitrary line?

[Kevin Cole]

On Wed, Aug 16, 2023 at 2:18 PM William Rehwinkel <
will...@williamrehwinkel.net> wrote:

> Dear Kevin,
>
> I use "\sectionLabel"s for this.
>

I KNEW there had to be a simpler way. Thanks. \sectionLabel is exactly what
I was looking for. I should have tried more adjectives for "part" in my
searches. ;-)

Re: Is there a better way to have a boxed part letter at the beginning of an arbitrary line?

[Kevin Cole]

P.S. Ideally, I want to make it part of a template, and be able to
quickly replace the notes in the first measure of each part without
having the part letter markup "embedded" in the measure between the
first and second notes. I'm hoping for a way to specify it so that it
is not tied to a note, but tied to the beginning of a line.

Is there a better way to have a boxed part letter at the beginning of an arbitrary line?

[Kevin Cole]

A minimum working example will make the question clearer: Although the
following produces what I want, it seems very ugly, and I suspect
there's a better way to accomplish the same thing: Placing the [A] and
[B] boxed letters for the tune parts at the beginning of a line.



\version "2.24.2"
\language "english"

melody = \relative c' {
  \time 6/8
  \key d \major
  \clef treble

  d8^\markup \translate #'(-10 . 0) { \box \pad-markup #0.5 "A" }[ e8
e8] g8[ a8 b8] |
  \break
  d8^\markup \translate #'(-10 . 0) { \box \pad-markup #0.5 "B" }[ e8
e8] g8[ a8 b8] |
  \bar "|."
}

\score {
  \new Voice = "mel" { \melody }

  \layout {
\autoBeamOff
indent = 0\mm
  }
}

Is there a Scheme macro(?) to use fretboards to generate a generic guitar strum?

[Kevin Cole]

I know there's been previous endless discussion, but...

While I'm sure it won't satisfy EVERYONE, I think it will be better
than nothing to have some option for MIDI output to simulate a strum
pattern. I don't know any Scheme, and I don't play a chorded
instrument, so it's beyond me, but the relationship between chord
names and fretboard diagrams suggests that it would be possible to use
that information to automatically construct something like:

%%%
% Seehttps://linuxmusicians.com/viewtopic.php?t=23660 %
%%%

\version "2.22.1"
\language "english"

melody = \relative c' {
  \time 4/4
  \key c \major
  \tempo 4=80

  % Guitar strum (Spanish guitar strum?)
  \clef "treble_8"

  % E major chord
  \appoggiatura {
e,,32~ [
32
32
32
32 ]
  }
  2

}

\score {
  \new Staff \melody
  \midi { }
}

%%%

To my very untrained ear, when the above is played, it sounds "close
enough" to a generic guitar strum.

Again, it wouldn't be perfect, and there are probably a million and
one exceptions, variations, etc. Is it a downstroke? Is it an
upstroke? Bla-bla-blah. The folks who are that fussy and have need of
such precision wouldn't be forced to use the option. But right now,
there's nothing other than constructing it by hand each time, for
every chord. I think something would be better than nothing.

Re: Voice synthesis

[Kevin Cole]

On Tue, Apr 25, 2023 at 7:58 AM Jean Abou Samra  wrote:

> > Le 25 avr. 2023 à 12:55, J Martin Rushton <
> martinrushto...@btinternet.com> a écrit :
> >
> > I was playing back a MIDI piece and wondered if anyone had ever
> > combined voice synthesis with MIDI?  I know that you can get MIDI
> > "ah"s, but I was meaning voiced from the text like a text reader.
>
> LilyPond comes with a script called "lilysong" that was apparently written
> to do just that, using Festival.
>
> It was unfortunately added without documentation a decade ago and never
> documented, nor much maintained since. I very much doubt that it still
> works, but you can always try.
>

For my wee voicemail greeting, I did it the hard way by hand-coding the XML
file. Festival uses the "Singing" dtd:

Re: Voice synthesis

[Kevin Cole]

On Tue, Apr 25, 2023 at 6:54 AM J Martin Rushton <
martinrushto...@btinternet.com> wrote:

> I was playing back a MIDI piece and wondered if anyone had ever
> combined voice synthesis with MIDI?  I know that you can get MIDI
> "ah"s, but I was meaning voiced from the text like a text reader.
>
> Purely idle wondering, no-one need to make any great effort and I don't
> (currently) have a use case.  It just seemed the next step in the
> development of computer music.
>

On the cheap, i.e. free (gratis) as well as free (libre), with some amount
of work, you can use Festival to make your computer sing badly. ;-)

I made an unlistenable phone voice mail greeting where I have two synthetic
voices singing in harmony. Most cannot quite make out all of the words, but
some of my blind friends who grew up with bad synthetic voices can manage.
(The melody is clear.)
See:

http://www.festvox.org/docs/manual-2.4.0/festival_29.html#Singing-Synthesis

Re: Policy for posts from non-members

[Kevin Cole]

On Tue, Feb 21, 2023 at 6:21 PM Andrew Bernard
 wrote:

> Dear me, mailing lists have been around for half as century or more. If
> people do not understand that it is normal to subscribe to a list to
> participate there's something wrong.

This was my reaction as well. I think I'm finally "old", as I
increasingly feel that society as a whole is encouraging and abetting
mass abandonment of critical thinking skills and common sense, and the
shortening of attention spans.

> Just reject the posts. That's very standard, and that is why the list
> software supports that option.

Again, hear, hear. Admining a mailing list is a thankless job. Take
advantage of the tools that make it less painful.

Some might complain that subscribing floods their inbox with posts
that are irrelevant. So, in other words, the admin and those who
subscribe are there to serve the whims of the non-subscribers and not
cause them any personal discomfort. Sorry, that's not the way
communities work. And most mailing list services offer a way to stem
the tide and mitigate the flood. If people cannot be bothered to read
the instructions telling them they need to subscribe, then clearly the
list isn't worth their precious time, and they can happily go on to
other "more important" things in their lives. A moderator /
administrator shouldn't need to be a babysitter or nanny.

Eventually, people who post without subscribing, and get no response
should be able to figure out on their own that, perhaps, just maybe,
following the instructions might just improve the response rate,

(On the other hand, I have a high tolerance for people who miss
something that the masses consider "obvious" in complex systems. So,
I've never been a fan of the ruder RTFM type responses. It does mean
that a lot of questions get asked over and over again, and the
temptation is great to say "Use a search engine, for god's sake!" But
saying that in a polite way is okay.)

But I rant. ;-)

Re: Documentation: Should we possibly have aliases for current stable and current devel?

[Kevin Cole]

On Mon, Feb 13, 2023 at 12:00 PM Saul Tobin  wrote:

> Many users have old projects on very old versions of Lilypond, and sometimes 
> you just want to make a small edit, not update your whole project to use the 
> new version. It's important for documentation to be available.

That's okay too... as long as, when I ask a question, the answer isn't
always "upgrade".

Re: Documentation: Should we possibly have aliases for current stable and current devel?

[Kevin Cole]

On Mon, Feb 13, 2023 at 11:55 AM Jean Abou Samra  wrote:
>
> Le lundi 13 février 2023 à 11:40 -0500, Kevin Cole a écrit :
>
> The point I was trying to make was "Does there REALLY need to be
> documentation for versions 2.13 to 2.25?  Maybe 2.20 to 2.25 would
> suffice."
>
> I'm not sure it would help with Qwant/DuckDuckGo/Google searches since we are 
> already marking the old documentation pages with 'Disallow' in robots.txt, 
> which is supposed to prevent Web crawlers from indexing them. Would 
> completely removing the old pages work better, or just turn the search 
> results into 404s instead of outdated documentation?

Ah. I was unaware of the robots.txt -- though sometimes I wonder if
web crawlers pay any attention.

> In any case, the ideal solution would be a client-side search button in the 
> documentation instead of the current Google search button.

THAT, on the other hand, would be wonderful!

Re: Documentation: Should we possibly have aliases for current stable and current devel?

[Kevin Cole]

On Mon, Feb 13, 2023 at 11:33 AM Lukas-Fabian Moser  wrote:
>
> Hi Kevin,
>
> > On the other hand, I strongly favor sticking with a distribution's
> > package rather than starting every day with a "git pull". So, I'm
> > always slightly behind the latest and greatest.
>
> Just for the record: Your description omits the (actually quite
> convenient) middle between the two extremes: Namely, that it's quite
> easy to keep up with current LilyPond development by downloading and
> using the respective (unstable) builds that are released every few weeks
> to months.

The point I was trying to make was "Does there REALLY need to be
documentation for versions 2.13 to 2.25?  Maybe 2.20 to 2.25 would
suffice."

Re: Documentation: Should we possibly have aliases for current stable and current devel?

[Kevin Cole]

In the past, when I've asked a question, the answer has often been a
gentle RTFM with a link to the appropriate info, followed by "Oh.
You're using the version from four days ago, rather than the version
du jour. That documentation doesn't apply to your version." (Yes, I
know, a bit of an exaggeration.)

If the later is truly the case, then it seems the same argument should
apply to documentation and having documentation for versions 2.13,
2.14, 2.15, 2.16, 2.17, 2.18, 2.19, 2.20, 2.21, 2.22, 2.23, 2.24, and
2.25 on the site seems a tad ridiculous when questions to the list
often elicit a response akin to "You're not using a new enough version
of the software".

Perhaps a bit of pruning / archiving elsewhere / referring people to
git commits / wiki diff's for older versions of the documentation is
in order... Anything from keeping search engines from cataloging way
too much and then confusing various versions into a single mess.

On the other hand, I strongly favor sticking with a distribution's
package rather than starting every day with a "git pull". So, I'm
always slightly behind the latest and greatest. Still, having 13
versions on the same site seems  a bit of overkill.

Re: Getting readline to work in scheme-sandbox

[Kevin Cole]

On Tue, Jan 10, 2023 at 2:38 PM David Wright  wrote:
>
> On Tue 10 Jan 2023 at 10:34:19 (-0500), Kevin Cole wrote:
> > An old thread at
> > https://mail.gnu.org/archive/html/lilypond-user/2020-01/msg00350.html
> > finished up with:
> >
> > > From:Michael Käppler
> > > Subject:Re: Getting readline to work in scheme-sandbox
> > > Date:Fri, 17 Jan 2020 23:22:38 +0100
> > >
> > > Am 17.01.2020 um 00:32 schrieb Knute Snortum:
> > >
> > >> That did it!  Thanks!
> > >
> > > Nice to hear, a very ugly 'fix', though. I will continue investigating.
> >
> > Is there a more beautiful fix three years later?
>
> The last thing I remember reading about this here was:
>
> https://lists.gnu.org/archive/html/lilypond-user/2022-05/msg00185.html
>
> Cheers,
> David.

...and, reading more of that archive thread suggests rlwrap -- or,
upon further investigation, rlfe or ledit -- will get me what I need.
(I haven't installed any of them yet, but I'll give them a try and see
if one is more featureful than another.)

Re: Getting readline to work in scheme-sandbox

[Kevin Cole]

On Tue, Jan 10, 2023 at 2:38 PM David Wright  wrote:
>
> On Tue 10 Jan 2023 at 10:34:19 (-0500), Kevin Cole wrote:
> > An old thread at
> > https://mail.gnu.org/archive/html/lilypond-user/2020-01/msg00350.html
> > finished up with:
> >
> > > From:Michael Käppler
> > > Subject:Re: Getting readline to work in scheme-sandbox
> > > Date:Fri, 17 Jan 2020 23:22:38 +0100
> > >
> > > Am 17.01.2020 um 00:32 schrieb Knute Snortum:
> > >
> > >> That did it!  Thanks!
> > >
> > > Nice to hear, a very ugly 'fix', though. I will continue investigating.
> >
> > Is there a more beautiful fix three years later?
>
> The last thing I remember reading about this here was:
>
> https://lists.gnu.org/archive/html/lilypond-user/2022-05/msg00185.html
>
> Cheers,
> David.

Ah. Thanks. Rather than fuss with recompiling, etc., I'll live without
the feature (and remember not to use the up arrow) then.

Re: Getting readline to work in scheme-sandbox

[Kevin Cole]

An old thread at
https://mail.gnu.org/archive/html/lilypond-user/2020-01/msg00350.html
finished up with:

> From:Michael Käppler
> Subject:Re: Getting readline to work in scheme-sandbox
> Date:Fri, 17 Jan 2020 23:22:38 +0100
>
> Am 17.01.2020 um 00:32 schrieb Knute Snortum:
>
>> That did it!  Thanks!
>
> Nice to hear, a very ugly 'fix', though. I will continue investigating.

Is there a more beautiful fix three years later?

To summarize:
__

$ lilypond scheme-sandbox
GNU LilyPond 2.22.1
Processing `/usr/share/lilypond/2.22.1/ly/scheme-sandbox.ly'
Parsing...
/usr/share/lilypond/2.22.1/ly/scheme-sandbox.ly:21:2: \
   error: GUILE signaled an error for the expression beginning here
#
 (load-user-init)
file: "libguilereadline-v-17", message: "file not found"

guile>
__

And there is no "libguilereadline*" file anywhere on my system.

I'm on a Pop! OS 22.04 system, using .deb packages as much as possible
and not constantly chasing my tail with git pulls and recompiles. So,
I'm currently at LilyPond v. 2.22. Searching dpkg for likely suspects
/ relevant-sounding packages yields:

guile-2.2-libs:amd64 2.2.7+1-6build2
guile-3.03.0.7-1
guile-3.0-libs:amd64 3.0.7-1
libreadline-dev:amd648.1.2-1
libreadline7:amd64   0~7.0-3
libreadline8:amd64   8.1.2-1
lilypond 2.22.1-2
lilypond-data2.22.1-2
readline-common  8.1.2-1

Re: Is there a simple way to test for command line options?

[Kevin Cole]

On Mon, Jan 9, 2023 at 7:07 PM Hans Aikema  wrote:

> On 10 Jan 2023, at 00:01, Kevin Cole  wrote:
>
> Is there a way, within a .ly file to conditionally include sections
> based on command line options?
>
> Specifically, I would like to have \paper settings go one way for
> "lilypond --pdf" and another way for "lilypond --svg".
>
>
> Kevin,
>
> don't know of a way with inspecting commandline options, but if
> environment variables will do for your case: I have the following pattern
> in use to switch between two page layouts that mainly differ in the \paper
> block
>
> myLayout = #(string-append "layout/" (getenv "MY_BASE") 
> "PageSetup.ily")\include \myLayout
>
>
Not quite what I was hoping for, but, yes, thanks. I believe I can make
that work reasonably nicely for me. (I can use the environment variable in
a shell script to choose the CLI options as well as in the wee bit you
included, effectively achieving the same thing.)

Is there a simple way to test for command line options?

[Kevin Cole]

Is there a way, within a .ly file to conditionally include sections
based on command line options?

Specifically, I would like to have \paper settings go one way for
"lilypond --pdf" and another way for "lilypond --svg".

Re: \repeat volta 2 + two blocks in \alternative = More alternatives than repeats?

[Kevin Cole]

On Fri, Dec 23, 2022 at 10:25 PM William Rehwinkel <
will...@williamrehwinkel.net> wrote:

> Hey Kevin,
>
> I identified that this was due to the measure mark "|" you inserted on
> line 31
>
> \alternative {
>  { c4.( c8) e16[ f16] }
>  { c4.( c4.) } |
>}
>
> Since this was outside of the second block, it was interpreted as a
> third block, thus lilypond had three alternative blocks.
>

Thanks!

> You may also want to double-check the first alternative block, it is a
> partial measure, but the repeated section starts on the downbeat instead
> of starting on the pickup to measure one.
>

This is the trouble with MWE. I wanted the measure marks wherever I could
put them, as they are recommended somewhere as a means of checking, but
wherever I put them in the alternative sections, it complained until I
found the one place it didn't -- or so I thought. Also, the original I was
copying from shows a partial measure for the first alternative and a full
measure for the second. (I was somewhat concerned about that as well, but I
don't know enough to know when the source material is wrong. It sort of
made sense to me, because the first time through, there's the partial
measure at the start, and the partial measure at the end, but when it goes
back for the repeat, it skips the partial measure at the start, which seems
like it "makes everything balance right" again... But as mentioned before,
I don't really read music. I use LilyPond to preserve stuff that I've found
elsewhere, and to learn from whatever MIDI output it produces.)

\repeat volta 2 + two blocks in \alternative = More alternatives than repeats?

[Kevin Cole]

I have a section for chords and a section for melody. Each has
"\repeat volta 2" and two blocks in an "\alternative". I've reduced to
what I think is a pretty minimum MWE, and still get:

|$ lilypond mwe.ly
|GNU LilyPond 2.22.1
|Processing `mwe.ly'
|Parsing...
|warning: More alternatives than repeats.  Junking excess alternatives
|Interpreting music...
|Preprocessing graphical objects...
|Interpreting music...
|MIDI output to `mwe.midi'...
|Finding the ideal number of pages...
|Fitting music on 1 page...
|Drawing systems...
|Converting to `mwe.pdf'...
|Success: compilation successfully completed

See attached:


mwe.pdf
Description: Adobe PDF document
\version "2.22.1"
\language "english"

global = {
  \time 6/8
  \key c \major
}

chordNames = \chordmode {
  \global
  \partial 8 s8 | %  0
  \repeat volta 2 {
  c2.
  }
  \alternative {
{ c2 s8 }
{ c2. }
  }
  f4. c4.
}

melody = \relative c' {
  \global
  \clef treble
  \partial 8 e16[ f16]
  \repeat volta 2 {
  g8.[ e16 d8] c8[ e8 c8]
  }
  \alternative {
{ c4.( c8) e16[ f16] }
{ c4.( c4.) } |
  }
  a'8.[ a16 a8] g8[ e8 e8]
  \bar "|."
}

\score {
  <<
\new ChordNames \chordNames
\new Voice = "mel" { \melody }
  >>

  \layout {
\autoBeamOff
indent = 0\mm
  }

  \midi { }
}

Re: Fretboard diagrams: Why does LilyPond sometimes try to interpret ":7" as a duration?

[Kevin Cole]

On Mon, Jul 25, 2022 at 5:56 PM Aaron Hill  wrote:
>
> On 2022-07-25 1:56 pm, Kevin Cole wrote:
> >> frets = \chordmode { f4 c4:7 g4:7 c4 bf4 d4:m }
> ^^
> Input is in chord mode.  Modifiers like :m and :7 work.
>
> >> frets = { g4 c4 a4 d4:7 }
>^
> Missing \chordmode.  :7 indicates a tremolo with an invalid duration.

Oops. I stared at it for half an hour and missed the typo completely.
Embarrassing. I'll blame it on sleepiness.

But many thanks.

Re: Fretboard diagrams: Why does LilyPond sometimes try to interpret ":7" as a duration?

[Kevin Cole]

On Mon, Jul 25, 2022 at 4:56 PM Kevin Cole  wrote:
>
> Hi,
>
> I decided to move all of the fretboards from various scores to a
> "summary" score at the top -- sort of a "legend" so that the scores
> would not take up so much space.
>
> I'm defining a variable named frets and then, later:
>
> 
> \score {
>   <<
> \new ChordNames \frets
> \new FretBoards \frets
>   >>
>   \layout { }
> }
>
> \score {
>   <<
> \new ChordNames \chordNames
> \new Voice = "mel" { \melody }
> \new Lyrics \lyricsto mel \words
>   >>
>   \layout { \autoBeamOff }
> }
> 
>
> Two files:
>
> > 
> > frets = \chordmode {  f4 c4:7 g4:7 c4 bf4 d4:m }
> > 
>
> and
>
> > 
> > frets = { f4 bf4 c4 }
> > 
>
> respectively, work fine. The third has a bit more going on, but adding:
>
> > 
> > frets = { g4 c4 a4 d4:7 }
> > 
>
> now gives me:
>
> > error: not a duration
> >  g4 c4 a4 d4:
> >  7
>
> (Without the frets score, everything is fine.)

P.S. BTW, since people often ask, I am using LilyPond 2.22.1

Fretboard diagrams: Why does LilyPond sometimes try to interpret ":7" as a duration?

[Kevin Cole]

Hi,

I decided to move all of the fretboards from various scores to a
"summary" score at the top -- sort of a "legend" so that the scores
would not take up so much space.

I'm defining a variable named frets and then, later:


\score {
  <<
\new ChordNames \frets
\new FretBoards \frets
  >>
  \layout { }
}

\score {
  <<
\new ChordNames \chordNames
\new Voice = "mel" { \melody }
\new Lyrics \lyricsto mel \words
  >>
  \layout { \autoBeamOff }
}


Two files:

> 
> frets = \chordmode {  f4 c4:7 g4:7 c4 bf4 d4:m }
> 

and

> 
> frets = { f4 bf4 c4 }
> 

respectively, work fine. The third has a bit more going on, but adding:

> 
> frets = { g4 c4 a4 d4:7 }
> 

now gives me:

> error: not a duration
>  g4 c4 a4 d4:
>  7

(Without the frets score, everything is fine.)

Re: Is there a SIMPLE way to embed an href in a title?

[Kevin Cole]

Thanks all. (Searches for URL, href, hypertext, etc, were failing to
turn up \with-url and kept pointing me at much more complicated stuff
that didn't seem to do what I wanted.)

Is there a SIMPLE way to embed an href in a title?

[Kevin Cole]

Hi,

The subject line pretty much says it all (or most).

Ideally, I'd like to be able to do something like:

\header {
  title = "This is the title"
}

and have Lilypond generate a PDF with the tile linking to wherever I point it/

I'm hoping to avoid lots of Scheme, lilypond-book, TeX, etc, etc. that
I don't understand. The cost / benefit isn't worth writing a whole lot
of additional code to accomplish the linking. (The linking isn't
critical enough to be worth a lot of time, and I can think of simpler,
though less satisfactory solutions.)

Re: Positioning lyrics properly with beaming?

[Kevin Cole]

On Thu, Jul 21, 2022 at 2:36 PM Stan Sanderson  wrote:

> or, quick and dirty, “phrasing brackets”
>
> i.e., 2. 8.\[ e’16\]

This didn't work at all for me. The 16th note (and the "The") at the
end disappear.

> On Jul 21, 2022, at 1:31 PM, William Rehwinkel via LilyPond user discussion 
>  wrote:
>
> I found that the command to disable all logic for finding melismas (manual 
> beams when \autoBeamOff, slurs, etc.) is melismaBusyProperties = #'() . Refer 
> to the attached example which sets it in a \context block. In the words macro 
> I entered the lyrics in a few different ways, depending on which way you 
> would most prefer.
>
> I found it on this page: 
> https://lilypond.org/doc/v2.21/Documentation/notation/common-notation-for-vocal-music
>  (ctrl-f melismaBusyProperties)
>
> Let me know if this is what you intended or if I am missing something.
>
> On 7/21/22 13:37, Kevin Cole wrote:
>
>> I'm transcribing a score from a printed copy and the score has a lot
>> of beamed 8th, dotted 8th, and 16th notes in it.  But the lyrics
>> resist being lined up regardless of how I use a single underscore
>> without spaces, with spaces, double dashes, etc.
>> I looked at 
>> https://lilypond.org/doc/v2.22/Documentation/learning/aligning-lyrics-to-a-melody
>> but I'm still missing something.
>>
>> A small example below.  The "Ohhh" should extend over the dotted half
>> note and the 8th note that follows, and "The" should appear under the
>> 16th note. It behaves correctly if I remove the beaming, but, as
>> mentioned above, there's a lot of it and I'm trying (once again) to
>> stay true to the stuff I'm transcribing. (Actually, the original score
>> has "Ohhh - hhh, The" with the Ohhh" under the dotted half note and
>> the "hhh" under the dotted 8th note, which, I guess would be even
>> better -- and truer to the source material.)
>>
>> %%%
>> \version "2.22.1"
>> \language "english"
>>
>> global = {
>>   \time 4/4
>>   \key c \major
>> }
>>
>> melody = \relative c' {
>>   \global
>>   2. 8.[ e'16]| %  1
>> }
>>
>> words = \lyricmode {
>>   Ohhh, The   | %  1
>> }
>>
>> \score {
>>   <<
>> \new Voice = "mel" { \melody }
>> \new Lyrics \lyricsto mel \words
>>   >>
>>   \layout { \autoBeamOff }
>> }
>> %%%

Re: Positioning lyrics properly with beaming?

[Kevin Cole]

On Thu, Jul 21, 2022 at 2:33 PM William Rehwinkel via LilyPond user
discussion  wrote:
>
> Hey Kevin,
>
> I found that the command to disable all logic for finding melismas (manual 
> beams when \autoBeamOff, slurs, etc.) is melismaBusyProperties = #'() . Refer 
> to the attached example which sets it in a \context block. In the words macro 
> I entered the lyrics in a few different ways, depending on which way you 
> would most prefer.
>
> I found it on this page: 
> https://lilypond.org/doc/v2.21/Documentation/notation/common-notation-for-vocal-music
>  (ctrl-f melismaBusyProperties)
>
> Let me know if this is what you intended or if I am missing something.
>
> -William

Thanks. That appears to do the trick -- at least for the moment, and I
would have spent decades trying to find it, I think.

Positioning lyrics properly with beaming?

[Kevin Cole]

Hi,

I'm transcribing a score from a printed copy and the score has a lot
of beamed 8th, dotted 8th, and 16th notes in it.  But the lyrics
resist being lined up regardless of how I use a single underscore
without spaces, with spaces, double dashes, etc.
I looked at 
https://lilypond.org/doc/v2.22/Documentation/learning/aligning-lyrics-to-a-melody
but I'm still missing something.

A small example below.  The "Ohhh" should extend over the dotted half
note and the 8th note that follows, and "The" should appear under the
16th note. It behaves correctly if I remove the beaming, but, as
mentioned above, there's a lot of it and I'm trying (once again) to
stay true to the stuff I'm transcribing. (Actually, the original score
has "Ohhh - hhh, The" with the Ohhh" under the dotted half note and
the "hhh" under the dotted 8th note, which, I guess would be even
better -- and truer to the source material.)

%%%
\version "2.22.1"
\language "english"

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

melody = \relative c' {
  \global
  2. 8.[ e'16]| %  1
}

words = \lyricmode {
  Ohhh, The   | %  1
}

\score {
  <<
\new Voice = "mel" { \melody }
\new Lyrics \lyricsto mel \words
  >>
  \layout { \autoBeamOff }
}
%%%

Re: Looking for the proper term to search for... like a... prelude? maybe?

[Kevin Cole]

On Tue, Jul 5, 2022 at 10:07 PM Andrew Bernard 
wrote:

> Hi Kevin,
>
> For an eight bar intro you would normally leave the vocal line staff and
> use full bar rests. This actually makes it easier for the vocalist, and
> if you were making parts you would have to do this anyway. I would not
> try to hide the intro staff in this case.
>

I'm merely transcribing what I see on paper as accurately as I can. Since
it didn't show any vocal line until the ninth measure (immediately after a
break) it seemed like the "right" thing to do.

%
\new Staff \with {
  \RemoveAllEmptyStaves
}
%

did  the trick (along with the afore-mentioned "\bar" and "\break' at the
end of the "short" measure at the end of the piano "solo" introduction and
before the partial measure where the voice starts.

Frenched usually refers to omitting whole empty systems and is used to
> make symphonic scores more compact. Just omitting a staff for a few bars
> is not generally thought of as Frenching, technically speaking.
>

Someone else brought up "French". I'd never heard of it til it was
mentioned in a response but it's good to know the terms, even if I'm not
doing symphonic stuff, just simple folk melodies and occasionally acoustic
rock.

Re: Looking for the proper term to search for... like a... prelude? maybe?

[Kevin Cole]

On Tue, Jul 5, 2022 at 8:47 PM William  wrote:

Kevin, if you don’t mind, I’m interested what you mean by the first system
> ending with a partial measure and the second system including vocals
> beginning with a partial measure? If you mean to break in the middle of one
> continuous measure, you could do this without partials via. \bar “” \break
>

I'm on vacation and continuing with LilyPond in my down hours. So, I
haven't been reading e-mail as quickly as normal. You've interpreted what I
meant exactly, but I managed to figure out that adding a \bar was required.
I had the \break but that wasn't enough.

Re: Looking for the proper term to search for... like a... prelude? maybe?

[Kevin Cole]

On Tue, Jul 5, 2022 at 9:54 AM H. S. Teoh via LilyPond user discussion <
lilypond-user@gnu.org> wrote:

> On Tue, Jul 05, 2022 at 09:38:31AM -0400, Kevin Cole wrote:
> >With my very limited knowledge of music theory, I don't know what
> term(s)
> >to search for.
> >I have a piece of music that starts with eight measures of piano,
> before
> >the vocal part comes in. So, it only shows the treble and bass clef
> staves
> >for eight measures, and then adds another staff when the vocals start.
>
> Usually that's called an introduction?  "Prelude" literally would mean
> the same thing, except that "prelude" is usually used to mean a
> standalone extended movement meant to introduce a larger work -- 8 bars
> would be a little short for that.
>

Yeah, I tried using "introduction" as one of my search terms originally,
but given how often the word is used, I got too many irrelevant hits.

>
> >I'm guessing that once I know what it's called I can read up on it
> >in the documentation and / or find a good example of how to code
> >that in LilyPond.
> >(I thought perhaps I could "cheat" and use something like lots of
> >"s1" followed by a "\break" and it might hide that portion of the
> >vocals because nothing's happening, but it didn't work and I
> >suspect that's not the right way to think about it anyway.)
> >Thanks.
>
> You could create a new vocal staff start 8 bars into the music; that
> would have the intended effect, I think.
>

This is exactly what I want to do, but since I didn't know how, I tried
searching for "introduction", "solo", "prelude", etc. and not finding what
I was looking for.

After my initial question, I found this:
https://music.stackexchange.com/a/118864/17117
which seems to be solving the problem in a different way.

But your answer makes more sense to me and is what I really want to go
with. (The introduction starts with a "\partial" and ends with an
incomplete measure also. Then, when the vocals start it's another
"\partial".) I just have no idea what the syntax for starting a new staff
"late" is.

I searched for "introduction" but get too many hits.

> T
>
> --
> Almost all proofs have bugs, but almost all theorems are true. -- Paul
> Pedersen
>
>

-- 
Physical
[image: [Photo: Kevin Cole]]
Kevin Cole, RHCE <http://launchpad.net/~kjcole/>
("ubuntourist")
Brain-Washington,
Disenfranchised City
Virtual
Git:
https://codeberg.org/ubuntourist/
CV:
https://stackoverflow.com/cv/ubuntourist/
LinkedIn:
https://linkedin.com/in/ubuntourist/
GPG Key ID:  0x3E696927 <http://research.gallaudet.edu/~kjcole/pubkey.php>

Looking for the proper term to search for... like a... prelude? maybe?

[Kevin Cole]

With my very limited knowledge of music theory, I don't know what term(s)
to search for.

I have a piece of music that starts with eight measures of piano, before
the vocal part comes in. So, it only shows the treble and bass clef staves
for eight measures, and then adds another staff when the vocals start.

I'm guessing that once I know what it's called I can read up on it in the
documentation and / or find a good example of how to code that in LilyPond.

(I thought perhaps I could "cheat" and use something like lots of "s1"
followed by a "\break" and it might hide that portion of the vocals because
nothing's happening, but it didn't work and I suspect that's not the right
way to think about it anyway.)

Thanks.

How do I keep space between staves reasonable?

[Kevin Cole]

I'm sorry I don't know how to create a minimal working example.

I have a rather simple melody with a single staff (vocal). Under the
staff I have two stanzas of lyrics (the first verse and the chorus).
After the score, I have a \markup section with additional verses.

When I have just the first verse, everything looks fine. When I add
the chorus, the spaces where I have \break become ridiculously large,
as LilyPond tries to anticipate my needs, and forces the \markup
section to a new page and vertically justifies / fills the page.

On the surface, what I want to do seems deceptively simple.

I've experimented with annotate-spacing and system-system-spacing to
no avail. The truth is I don't really understand what I'm looking at
with all the various distances. (In the annotated PDF, it looks like I
want to shrink "extra dist (system-system-spacing)".)

If I tightened the space between the \break's I think everything would
remain on one page.

Or, if I can't do that, and it has to force the \markup additional
verses to a new page, it still seems weird to have so much whitespace
between \break's. I think it would look better with all the whitespace
at the end of the score...

Re: Why isn't VoiceTwo flipping the stems down?

[Kevin Cole]

On Sun, Jun 5, 2022 at 1:22 PM Thomas Morley 
wrote:

> Am So., 5. Juni 2022 um 17:32 Uhr schrieb David Kastrup :
>
> > Alternatively it may make sense to work through the "Learning Manual" of
> > LilyPond once (or at least its first chapters) to get a first grasp of
> > how things are supposed to fit together.
> >
>
> Currently "Learning Manual 3.2.2 Explicitly instantiating voices" reads:
>
> Voice contexts can also be created manually inside a << >> block to
> create polyphonic music, using \voiceOne … \voiceFour to indicate the
> required directions of stems, slurs, etc.
>
> I think this could be (mis)interpreted as: a \voiceOne _creates_ a
> Voice-context with direction settings for stems. slurs. etc.
> Maybe some rewording would be nice.
>

This was my misinterpretation.

And previous questions to this list about the "right" way to do stuff have
resulted in answers that approximate "any way that gets you to the result
you want. All approaches are good." But I will attempt, once again, a more
careful read. (I did go through a good portion of the Learning Manual, but
I'm missing enough prerequisites that I don't always understand what I'm
reading there.)

Re: Why isn't VoiceTwo flipping the stems down?

[Kevin Cole]

On Sun, Jun 5, 2022 at 9:32 AM Jean Abou Samra  wrote:

> Le 05/06/2022 à 15:28, Kevin Cole a écrit :
> > What did I miss THIS time?
> >
> > %%
> > \version "2.22.1"
> > \language "english"
> >
> > global = {
> >   \time 4/4
> >   \key d \major
> > }
> >
> > soprano = \relative c'' {
> >   \global
> >   \clef treble
> >   b2( cs2) | % 19
> >   <<
> > \voiceOne { d2 e2 }  %Stem UP
> > \new Voice
> > \voiceTwo { b4 a4 b4 cs8[( b8]) }%Why isn't this Stem DOWN ???
> >   >>
> >   \oneVoice| % 20
> >   d2 cs2   | % 21
> >   \bar "|."
> > }
> >
> > \score {
> >   \new Staff = "soprano" \soprano
> >   \layout { \autoBeamOff }
> > }
> > %%
>
> \new Voice \voiceTwo { ... } is equivalent to
>
> \new Voice { \voiceTwo } % One expression
> { ... } % A second expression
>
> Namely, the \voiceTwo stands on its own. It is not a command
> taking an argument. You just put it in a music expression
> as something that modifies what's after it. Thus the correct
> syntax is
>
> \new Voice { \voiceTwo ... }
>
> Jean

Ah! I've apparently just been "lucky" before, which is why I hadn't
picked up on that detail: All of my previous encounters either
involved the same notes with one voice tied and beamed while the other
was untied and unbeamed, or the notes of voiceTwo were far enough
below voiceOne as to have the stems flip naturally (or at least that's
my current understanding / working theory).

Thanks!

Why isn't VoiceTwo flipping the stems down?

[Kevin Cole]

What did I miss THIS time?

%%
\version "2.22.1"
\language "english"

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

soprano = \relative c'' {
  \global
  \clef treble
  b2( cs2) | % 19
  <<
\voiceOne { d2 e2 }  %Stem UP
\new Voice
\voiceTwo { b4 a4 b4 cs8[( b8]) }%Why isn't this Stem DOWN ???
  >>
  \oneVoice| % 20
  d2 cs2   | % 21
  \bar "|."
}

\score {
  \new Staff = "soprano" \soprano
  \layout { \autoBeamOff }
}
%%

Re: Three slurs from a single voice to three voices?

[Kevin Cole]

Thanks for the suggestions.

I'm working from a 3-ring binder of songs collected via photocopying
and hand-transcription that a group of us used to sing and play from
30 years ago. I have no idea who scrawled this tune in. But, seeing as
how most (if not all) of us were amateurs, it is very possible that
the person doing the transcription got something wrong. I'm still bad
enough at this that I wouldn't recognize "wrong". It's not an
original. My initial thought was to, as much as possible, faithfully
transcribe what I have in the binder.

The hand-writing is so bad that I had trouble deciphering the lyrics
-- and the title, but digging around a bit, it appears to be an
arrangement -- perhaps by one of our members from the now long-defunct
group -- of "Adoramus te Christe". (Not one of the songs we did often
enough for me to remember it.) The score looks to be SAB1B2 + Piano.
And the lyrics that I can make out don't strictly follow the lyrics
I'm finding online.  I may try to dig up a more official and
better-printed version, now that the feedback I'm getting is that the
arrangement is "odd" in that section I was asking about.

Three slurs from a single voice to three voices?

[Kevin Cole]

Hi,

The hand-written score I'm looking at shows an F# with three slurs
coming off of it going to each of the three notes in the following
measure. I tried the following but it only shows one slur. What did I
miss?


\version "2.22.1"
\language "english"

\new Staff {
  \relative c' {
\time 4/4
\key d \major
d2 r4 fs4(|
<<
  \voiceOne {
fs4)( g) g4 fs4   |
fs4( b4) b2   |
  }
  \new Voice
  \voiceTwo {
d,2) cs4 cs4  |
d2 d2 |
  }
  \new Voice
  \voiceThree {
b2) as4 as4   |
b2 b2 |
  }
>>
\oneVoice
  }
}


 (I also tried adding the starting F# to each of the three voices but
it made a two-headed F#. I didn't go so far as to add the F# to the
third voice, since it was messing up when I added it to the second,
and it seemed like there was probably a better solution than fighting
with the direction of the head for the single note, since it's one
more thing I don't know how to do, and seemed -- to me --
counter-intuitive as an approach.)

Re: Lilybin?

[Kevin Cole]

I hadn't heard of either LilyBin or HacLily.

So... Basically Frescobaldi over the web, yes?

Other than the collaborative, distributed nature -- which I can see as
advantageous in some situations -- do they have features that Frescobaldi
doesn't have?

Re: Any LyX users? Missing prerequisites: lilypond-book->latex

[Kevin Cole]

On Tue, May 31, 2022 at 10:02 AM Damian leGassick
 wrote:

> fwiw I was never able to get Lyx’s native Lilypond mode working reliably. The 
> manual was, and remains completely unhelpful.

Thanks! Knowing that the manual is unhelpful is really helpful. ;-)
Not to mention knowing that LyX's native LilyPond mode is sketchy.

> That said, it is a good environment for embedding multiple Lilypond generated 
> pdf/eps in a structured text document, because any changes in those pdf/eps 
> files are picked up automatically without having to reimport them (cf MS 
> Word) or even refresh Lyx - they just change.

Okay. I can [he says prematurely and optimistically] work with that.

> I’ve typeset a long complex analytical doctoral thesis and several 
> harmony/analysis workbooks like this and it works really well.

As a rank amateur (sometimes very rank) merely attempting to replicate
what I see on paper with a less-than-complete understanding of what
I'm looking at, my needs are, I think, considerably more modest. (I'm
doing it more for preservation, and the benefit of my friends who
actually do read music. They'll be able to either put it on the
electronic device of their choice, or print out better-looking copies.
Then, I then follow them, playing by ear.)

> be aware that multi-page lilypond scores need to be imported into Lyx one 
> page at a time - it will not ‘flow’ a score between multiple boxes.

Also an "important safety tip" that I can work with. (I've got Linux
applications that burst multiple pages into individual files.)

> My sense is also that for smaller documents, learning Lyx is actually more 
> work than just learning lilypond-book as tweaks outside of what Lyx provides 
> (and there could be many) require you to know your way around normal ()TeX.

Uh-oh. That's a bit worrisome, since I was stymied by lilypond-book
alone... Since you're the only person so far who seems to have spent
time with LyX, I'll take that under serious advisement...

Any LyX users? Missing prerequisites: lilypond-book->latex

[Kevin Cole]

[Asked on the lyx mailing list but, so far, no response.]

Hi,

I'm running the latest -- and greatest(?)  -- release of Pop!_OS,
which is effectively Ubuntu. Specifically, 22.04 LTS ("Jammy").

I'm finding myself having a hard enough time with LilyPond alone,
without the added burden of learning everything about LaTeX, XeTeX,
LuaTeX, etc, (just to get the font I want) along with LilyPond-Book.
So, I'm hoping, for what I want to do, that LyX -- which I also don't
know, will be less of a climb.

I've just installed LyX and have not adjusted any preferences /
options / configurations. When I try Help -> Specific Manuals ->
LilyPond I get a pop-up:
__
The module lilypond requires a package that is not
available in your LaTeX installation, or a converter that
you have not installed. LaTeX output may not be possible.
Missing prerequisites:
lilypond-book->latex
See section 3.1.2.3 (Modules) of the User's Guide for more information.
__

I've read elsewhere that it should just work "out of the box" on
Ubuntu systems. I ran the Tools->Reconfigure (though
from everything I read it wasn't necessary). No change. It still
didn't find what it's looking for. Anyone know what I'm missing?

P.S. For the record, I have:

$ lyx --version
LyX 2.3.6 (2020-11-27)
Configuration
  Host type:   x86_64-pc-linux-gnu
...

$ lilypond --version
GNU LilyPond 2.22.1

$ lilypond-book --version
2.22.1

$ latex --version
pdfTeX 3.141592653-2.6-1.40.22 (TeX Live 2022/dev/Debian)
kpathsea version 6.3.4/dev
Copyright 2021 Han The Thanh (pdfTeX) et al.

Just to be sure:

$ dpkg -l | \
> tr -s "\t " " " | \
> cut -d " " -f 2-3 | \
> egrep "(lyx|tex|lilypond)" | \
> egrep -v "tex(t|port)"
fonts-lyx 2.3.6-1
fonts-texgyre 20180621-3.1
geany-plugin-latex 1.38+dfsg-1
latexmk 1:4.76-1
libptexenc1:amd64 2021.20210626.59705-1build1
libsynctex2:amd64 2021.20210626.59705-1build1
libtexlua53:amd64 2021.20210626.59705-1build1
libtexluajit2:amd64 2021.20210626.59705-1build1
lilypond 2.22.1-2
lilypond-data 2.22.1-2
lilypond-doc 2.22.1-2
lilypond-doc-html 2.22.1-2
lilypond-doc-pdf 2.22.1-2
lilypond-fonts 2.22.1-2
lyx 2.3.6-1
lyx-common 2.3.6-1
pd-motex 1.1.4-4
preview-latex-style 12.2-1ubuntu1
tex-common 6.17
tex-gyre 20180621-3.1
texinfo 6.8-4build1
texlive 2021.20220204-1
texlive-base 2021.20220204-1
texlive-binaries 2021.20210626.59705-1build1
texlive-extra-utils 2021.20220204-1
texlive-font-utils 2021.20220204-1
texlive-fonts-recommended 2021.20220204-1
texlive-fonts-recommended-doc 2021.20220204-1
texlive-lang-english 2021.20220204-1
texlive-lang-greek 2021.20220204-1
texlive-latex-base 2021.20220204-1
texlive-latex-base-doc 2021.20220204-1
texlive-latex-extra 2021.20220204-1
texlive-latex-extra-doc 2021.20220204-1
texlive-latex-recommended 2021.20220204-1
texlive-latex-recommended-doc 2021.20220204-1
texlive-luatex 2021.20220204-1
texlive-metapost 2021.20220204-1
texlive-metapost-doc 2021.20220204-1
texlive-pictures 2021.20220204-1
texlive-pictures-doc 2021.20220204-1
texlive-plain-generic 2021.20220204-1
texlive-science 2021.20220204-1
texlive-xetex 2021.20220204-1


-- 
Physical
Kevin Cole, RHCE
("ubuntourist")
Brain-Washington,
Disenfranchised City
Virtual
Git:
https://codeberg.org/ubuntourist/
CV:
https://stackoverflow.com/cv/ubuntourist/
LinkedIn:
https://linkedin.com/in/ubuntourist/
GPG Key ID: 0x3E696927

Is there a way to set the midiInstrument for ChordNames with FretBoards?

[Kevin Cole]

Hi,

I have a score with an outline shown below. I managed to get the vocal
part doing "choir aahs", and the piano defaults to a piano instrument,
but is there a way to have ChordNames / FretBoards do anything with
"acoustic guitar (nylon)"?  Even if the playback isn't super accurate
in terms of duration, it seems like, with the fretboards, it would be
able to have a half-educated notion of which notes to sound.)

(And, is there a better way to set the "choir aahs" -- without
changing the whole thing around too much? It somehow feels redundant
to add "\new Staff" around the "\new Voice" since the staff was
already showing without it, but I couldn't get the MIDI to sound
without adding the "\new Staff".)

Thanks.


\version "2.22.1"
\language "english"

global = {
  \time 2/4
  \key c \major
  \tempo 4 = 80
}

chordNames = \chordmode   { ... }
melody = \relative c' { ... }
words  = \lyricmode   { ... }
upper  = \relative c' { ... }
lower  = \relative c  { ... }

\score {
  <<
\new ChordNames \chordNames
\new FretBoards \chordNames
\new Staff \with { midiInstrument = #"choir aahs" }
<<
  \new Voice = "mel" { \melody }
>>
\new Lyrics \lyricsto mel \words
\new PianoStaff
<<
  \new Staff = "upper" \upper
  \new Staff = "lower" \lower
>>
  >>
  \layout { }
  \midi   { }
}

Re: [Frescobaldi] Problems with Frescobaldi and LilyPond

[Kevin Cole]

I guess I would have gone the other way and renamed the user
rpalmer again... (The following may not be the BEST way to do it but gets
the job done.)

sudo -i
for x in group* gshadow* passwd* shadow* subgid* subuid*
do
   perl -p -i -e "s/ralph/rpalmer/g;" $x
done
mv /home/ralph /home/rpalmer
exit
That finds "ralph" in all of the login-related files and changes the string
to "rpalmner", then as a final step (the most critical to you) it renames
your home directory back to rpalmer.

Re: LilyPond 2.23.8 released

[Kevin Cole]

>
>
> There have been problems with the version in the search box
> going out of sync with the current LilyPond version, but I
> think these days we are careful to update it timely. It won't
> help with older versions though.
>
> Jean
>

Alas, more's the pity. Well, now that 22.04 LTS is out, I'll be upgrading
soon, which looks like it will get me 2.22 of Lilypond. (Apparently no PPA
or Flatpak version.)

Re: LilyPond 2.23.8 released

[Kevin Cole]

Hi,

The problem is that I am using the version of Lilypond supported by the OS
package manager. I'm running Pop! OS which is basically an Ubuntu
derivative. They JUST today announced their next LTS release (22.04) is
ready.

So, the OS maintained version is currently at 2.20 (to be precise, lilypond
2.20.0-1).

If I explicitly use the URL for 2.20:

https://lilypond.org/doc/v2.20/Documentation/learning/

and use the search at the bottom  of the green sidebar on the left to
search, let's say for "slur", the page that is returned is the Google
result page. However, it shows that Google is searching for "site:
lilypond.org/doc/v2.19 slurs" -- i.e. though explicitly searching from 2.20
"tree", it returns a result for 2.19.

I can't cite other examples immediately, but as I recall, it sometimes goes
back to 2.18, sometimes forward to 2.21, etc. I never know if the search
returned is going to give me documentation for the version I have installed.

Re: LilyPond 2.23.8 released

[Kevin Cole]

On Mon, Apr 25, 2022 at 3:49 PM David Kastrup  wrote:

>
> We are happy to announce the release of LilyPond 2.23.8. This is termed
> a development release, but these are usually reliable. If you want to
> use the current stable version of LilyPond, we recommend using the
> 2.22.2 version.
>
> In this release, dropping Guile 1.8 support has finally become possible
> also for our sources. We'd like to dedicate this release to Ian Hulin
> who was one of the first systematically working on our numerous
> roadblocks for Guile 2 migration after tackling a few other high-level
> problems. In the time spans where his health permitted it, he was able
> to significantly reduce the amount of remaining problems for the Guile 2
> migration after having started working on them in 2010, making the goal
> that we finally reached now more tangible for others to work on after he
> left us in 2015.
>

Is there any plan to retire some -- not all -- of the documentation for
versions long dead? Or, at the very least, confine the searches to the
version of the documentation from which the search was initiated?

Re: How do I merge a quarter-note with the second eighth-note of a pair?

[Kevin Cole]

On Tue, Apr 12, 2022 at 7:39 PM Paul Hodges  wrote:

I think that's a misprint in the source, and the upstem should have a
> flag.  I presume that below there are two sets of words with different
> numbers of syllables which require different grouping of the notes.
>
> Paul
>

Yeah, that's what I concluded, but only after I posted, naturally. ;-)

(There are several verses and I haven't entered, or even read them yet. So,
I don't yet know which ones will be syllabically different. But when David
asked "Why?" I looked again and it didn't make sense. My bad.)

Re: How do I merge a quarter-note with the second eighth-note of a pair?

[Kevin Cole]

Never mind. I see it appears to be a typo in the original. That's what
I get for not paying enough attention.

Re: How do I merge a quarter-note with the second eighth-note of a pair?

[Kevin Cole]

On Tue, Apr 12, 2022 at 7:15 PM David Kastrup  wrote:

> Kevin Cole  writes:
>
> > I think an example will make the question clearer:  How do I merge the
> > B quarter-note with the B eighth-note following the D eighth-note
> > below?
> >
> > %%%
> > \version "2.20.0"
> > \language "english"
> >
> > \layout {
> >   \autoBeamOff
> > }
> >
> > global = {
> >   \time 4/4
> >   \mergeDifferentlyHeadedOn
> > }
> >
> > melody = {
> >   \relative {
> > \global
> >
> > <<
> >   { \voiceOne b'4 }
> >   \new Voice
> >   { \voiceTwo d,8[( b'8]) }
> > >>
> > \oneVoice
> > a8. g16 g4 r8 g8   |
> > \bar "|."
> >   }
> > }
> >
> > \score {
> > \new Staff { \melody }
> > }
> > %%%
>
> WHY would you merge the B quarter-note with the B eighth-note?  They are
> not even in the same time-step.
>

Then perhaps once again, I'm misreading what I'm transcribing... Wouldn't
be the first time... Here's what I'm trying to reproduce:

How do I merge a quarter-note with the second eighth-note of a pair?

[Kevin Cole]

I think an example will make the question clearer:  How do I merge the
B quarter-note with the B eighth-note following the D eighth-note
below?

%%%
\version "2.20.0"
\language "english"

\layout {
  \autoBeamOff
}

global = {
  \time 4/4
  \mergeDifferentlyHeadedOn
}

melody = {
  \relative {
\global

<<
  { \voiceOne b'4 }
  \new Voice
  { \voiceTwo d,8[( b'8]) }
>>
\oneVoice
a8. g16 g4 r8 g8   |
\bar "|."
  }
}

\score {
\new Staff { \melody }
}
%%%

Re: Need help with \force-hshift or \shiftO... (off, on, onn, onnn, etc.)

[Kevin Cole]

On Mon, Mar 28, 2022 at 4:42 AM Paul Hodges  wrote:
>
> I think you mean \mergeDifferentlyDotted
>
>> From: Mats Bengtsson 
>>
>> You don't happen to have a \mergeDifferentlyHeadedOn somewhere in your full 
>> score code, do you?

Ah. I had both: Due to my continued inability to hold the whole of it
in my head, I've been working from a Frankensteinian template that I
cobbled together which, up until now, has worked for the stuff I've
been transcribing. The template had both \mergeDifferentlyHeadedOn and
\mergeDifferentlyDottedOn. (I don't recall which scores in the book
wanted those.) Anyway, I removed both and all is looking good now.

Thanks.

Re: Need help with \force-hshift or \shiftO... (off, on, onn, onnn, etc.)

[Kevin Cole]

On Sun, Mar 27, 2022 at 5:04 PM Carl Sorensen  wrote:
>
> On Sun, Mar 27, 2022 at 2:01 PM Kevin Cole  wrote:
>>
>> In my more-than-minimal example, the b16 from the first voice gets
>> merged with the b8. from the second voice. When I tried to create a
>> minimum (non-working) example, the two didn't merge. But, what I want
>> below is for the b8. from the first voice to merge with the b8. from
>> the second voice.
>>
>> In other words, it should look like b16 b8. g16 with the b8. in the
>> middle having stems going both directions.  Looking at examples that
>> were over my head, I attempted \override \once \force-hshift in
>> various places, but didn't accomplish anything.
>
>
> Kevin,
>
> If you want the heads to merge, they need to be at the same time step.
>
> I think you are misinterpreting the original music.  The original music has 
> two downstemmed notes (b natural sixteenth plus b natural eighth) at the same 
> time as one upstemmed note (b dotted eighth).
>
> To get the output in the image, just do this:
>
> \version "2.20.0"
> \language "english"
>
> \layout {
>   \autoBeamOff
> }
>
> global = {
>   \key ef \major
>   \time 4/4
> }
>
> melody = {
>   \relative {
> \global
> <<
>   { \voiceOne b'8. }
>   \new Voice
>   { \voiceTwo b16 b8 }
> >>
> \oneVoice
> a8 b8 c4 r8 d8
>   }
> }
>
> \score {
>   \new Staff { \melody }
> }


Ah. I think you're right. And, when I do what you suggested in the
minimal example, it works as described: Your example looks like the
image I sent. But when I inject it into the full score I get the
attached, which still merges the dotted eighth with the sixteenth at
the start of the measure.

Need help with \force-hshift or \shiftO... (off, on, onn, onnn, etc.)

[Kevin Cole]

In my more-than-minimal example, the b16 from the first voice gets
merged with the b8. from the second voice. When I tried to create a
minimum (non-working) example, the two didn't merge. But, what I want
below is for the b8. from the first voice to merge with the b8. from
the second voice.

In other words, it should look like b16 b8. g16 with the b8. in the
middle having stems going both directions.  Looking at examples that
were over my head, I attempted \override \once \force-hshift in
various places, but didn't accomplish anything.

%
\version "2.20.0"
\language "english"

\layout {
  \autoBeamOff
}

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

melody = {
  \relative {
\global
<<
  { \voiceOne b'16 b8. }
  \new Voice
  { \voiceTwo b8. g16 }
>>
\oneVoice
a8 b8 c4 r8 d8
  }
}

\score {
  \new Staff { \melody }
}
%

P.S. I think I'm interpreting the attached image correctly, but I
could be wrong about that. In any case, that's what I'm trying to
achieve in LilyPond.

Alternative to \parallelMusic?

[Kevin Cole]

Hi,

I have a score with a lot of sections as shown in the attached PNG. I
see something like what I want to achieve at the end of the section on
\parallelMusic:

https://lilypond.org/doc/v2.20/Documentation/notation/multiple-voices#writing-music-in-parallel

My first thought, to avoid inserting rests, was simply to have the
same notes appearing in both voices except for where they deviate.
However, that resulted in sometimes placing the notes consecutively
rather than concurrently. For example, I ended up with two whole notes
in one measure.

But as has been mentioned on this list before, there are often
multiple ways to tackle problems. So, I'm wondering if there's
something a bit more intuitive, simpler, etc. to get the first of the
four beamed eighth notes in the second measure to line up with the
half notes.

Re: Teaser: Animated Lilypond Scores

[Kevin Cole]

Bravo! Encore! Loving the "follow the non-bouncing line" -- as opposed
to the older "follow the bouncing ball".

Re: Blind and visually impaired users learning LilyPond

[Kevin Cole]

Of possible interest:

MusicXML to braille music conversion (sent to this mailing list Jan 2020)
https://lists.gnu.org/archive/html/lilypond-user/2020-01/msg00418.html

and also:

Braille music translation system (BrailleMUSE v5.62pp20210208) from
MusicXML to Braille score
https://braillemuse.net/BrailleMUSE/en2/Input-e-b2-lyricP.jsp

Re: How do I get an "empty / blank" lyric at the start of a song?

[Kevin Cole]

Turns out, for my use case just adding a "_" in the partial measure
lyrics did the trick.

How do I get an "empty / blank" lyric at the start of a song?

[Kevin Cole]

I have a song that starts with two voices(?) for different timing on
different verses:

global = {
  \key c \major
  \time 2/4
}

melody = {
  \relative {
\global
\partial 8
<<
  { \voiceOne r8^\mf }
  \new Voice
  { \voiceTwo e'8 }
>>
\oneVoice   | %   0
...
  }
}

For the lyrics, I want something like:

words = \lyricmode {
| % 0
  ...
}

In other words (or lack thereof) the first verse doesn't start on the
pickup note, but later verses do. So I don't want a lyric under the
rest.

Why does the following bar check fail for measure 3?

[Kevin Cole]

Hi,

In the following example lyrics, what goes wrong at measure 3?

Thanks!


\version "2.20.0"
\language "english"

\header {
  title = "broken"
  tagline = ""
}

\layout {
  \autoBeamOff
}

global = {
  \key c \major
  \time 3/4
}

melody = {
  \relative {
\global
g'2 c8. a16   | %   1
g4 e4 e8. d16 | %   2
c2 r4 | %   3
r4 r4 g'4 | %   4
  }
}

words = \lyricmode {
  This is ok | %   1
  And so is this | %   2
  ???| %   3
  ok | %   4
}

\score {
  <<
\new Staff { \melody }
\addlyrics { \words }
  >>
}

Re: LilyPond website is not available in some countries

[Kevin Cole]

I' m using Brave. Version 1.31.88 Chromium: 95.0.4638.69 (Official
Build) (64-bit)

I enter https://lilypond.org/doc/v2.20/ and am redirected to
https://lilypond.org/doc/v2.20/Documentation/web/index.html

So far, so good. https: redirects to https:

I click Manuals and again, am taken to
https://lilypond.org/doc/v2.20/Documentation/web/manuals . Still good.

I click Learning Manual. Still good. https remains. I am now at
https://lilypond.org/doc/v2.20/Documentation/learning/index#top

I click the search bar at the bottom of the green sidebar table of
contents... And get a pop-up in red text:

> "This form is not secure. Autofill has been turned off."

I continue anyway. Aaaand. https has gone away, And v2.20 is now
v2.19. I am now at:

http://google.com/search?btnG=Google+Search&brute_query=beats&q=site%3Alilypond.org%2Fdoc%2Fv2.19+beats

> "The information you’re about to submit is not secure"
> "Because this form is being submitted using a connection that’s not secure,"
> "your information will be visible to others."

I can (and do) click the "Send anyway" and get to what I want.
However, the fact remains that the search submission is clearly not
playing by the same rules as the rest of the links.

Folks can blame the browser (or the user) but the behavior remains
unexpected. and again, not something I encounter on any other site.

Re: Dynamics and tempo alignment?

[Kevin Cole]

On Thu, Nov 4, 2021 at 2:31 PM Mark Knoop  wrote:

> \tempo is not a postfix command like dynamics and markups. Just put it before 
> the g2.

I do so love the simple fixes. Thanks!

Dynamics and tempo alignment?

[Kevin Cole]

Hi,

I think I'm making great strides with my wee little transcriptions,
but here's my latest puzzle:

I have the following measure:

  g2^\>\tempo \markup { \italic "Slower." } 4 = 65
  <<
{ \voiceOne fs8\!\p([ g8]) }
\new Voice
{ \voiceTwo fs8 g8 }
  >>
  \oneVoice  | %  20

I want the "Slower (♩= 65)" to appear above and at the start of the
decrescendo. But instead it appears to the right of it. (See attached
PNG.)  There seem to be a lot of different -- and to me -- overly
complicated -- ways of doing this. Is there a "recommended" way
without trying to give relative coordinates to move to?

Thanks.

Re: LilyPond website is not available in some countries

[Kevin Cole]

On Tue, Nov 2, 2021 at 3:55 PM Hans Aikema  wrote:

> Refering to the search box that IS already using https when you opted to 
> browse the website using https?
> I consider it perfectly fine that the website offers an http search option 
> when browsing the site with http, considering that it doesn't concern any 
> privacy sensitive information.
> You should teach manners to your webbrowser.

lilypond.org is the only site I've encountered that appears to have
this problem. Once in a while for other sites I encounter an expired
certificate, but that problem usually goes away in a day or two after
they get around to renewing their certificate(s). With lilypond.org,
it seems that it's always a crap shoot as to whether or not I'll get
the complaint from the browser. Since the problem seemed unique to
lilypond.org, I didn't consider it to be a browser problem.  (Maybe
it's simply that the vast cache of Google, Duck-Duck-Go, et al, is
constantly offering up the "http" version as a starting point or some
such, as the first match...)

Re: LilyPond website is not available in some countries

[Kevin Cole]

On Tue, Nov 2, 2021 at 3:33 PM Hans Aikema  wrote:
>
> On 2 Nov 2021, at 20:27, Kenneth Wolcott  wrote:
>
> On a side note, I was wondering why the Lilypond web site not secure,
> ie: https rather than http...not that it matters that the content on
> the web site and the interaction with it is of a sensitive nature, but
> still...
>
> Ken Wolcott
>
> It is dual-hosted, so you CAN access it perfectly fine on https, but it's not 
> enforced
>
> https://lilypond.org/ works just as fine as http://lilypond.org

Seems like (he says in ignorance) it would be a quick fix to make sure
all the searches from the left-hand sidebar put the "s" in "https" so
that it's not constantly warning that the submitted search is insecure
and having the browser ask if I *really* want to go ahead with
following the link...

Re: LilyPond website is not available in some countries

[Kevin Cole]

On Tue, Nov 2, 2021 at 9:16 AM Omid Mo'menzadeh 
wrote:

> This is what I see when I open the website with an IP from Iran. We have
> the same problem with other websites hosted on GCE and similar products.
> Google's search engine, Gmail, etc. are fine.
>

Ouch. My mistake. And, like you, I'm surprised.

Re: LilyPond website is not available in some countries

[Kevin Cole]

On Tue, Nov 2, 2021 at 6:42 AM Omid Mo'menzadeh 
wrote:

> Hello all.
> I'm not sure if this is the right list to post this, but I'll give it a
> shot here, and see where I should report this.
> The problem seems to be the website's hosting, which appears to be
> provided by Google, which blocks access from certain countries in
> accordance with US law (with the error message "403. That’s an error. Your
> client does not have permission to get URL / from this server. That’s all
> we know."). This would not surprise me if LilyPond was not a GNU project,
> but it's a bit off at the moment, to say the least.
> What I would want to know if this is something the team cares about, and
> where I should discuss this.
> Thanks,
> Omid Momenzadeh
>
I could  be mistaken -- I often am -- but...

I suspect it's merely that the site is designed to construct search queries
using Google as the default search engine -- along with Google's option to
limit the search to a particular site. This saves the maintainers from
having to install a search engine and keep it updated.

(One other negative consequence of this setup is that it randomly chooses
the version of documentation -- e.g. If I am on a .../doc/v2.20/... page
and search for a term, it will happily offer up a match from
.../doc/v2.22/..., .../doc/2.18/... or whatever else it finds.)

Re: Trying to get the hang of "Polyphony with Shared Lyrics" section of the manual.

[Kevin Cole]

On Fri, Oct 29, 2021 at 4:53 PM Lukas-Fabian Moser  wrote:

> > I'll probably keep the \noBeam rather than the \autoBeamOff, since I'm
> > trying to faithfully reproduce the original, as much as I can.

> Non sequitur (I think).
>
> Consider:
>
> \version "2.22"
> \language "english"
>
> \relative {
>\time 3/4
>\key d \major
>d'8\noBeam d e16( fs) g8\noBeam a\noBeam fs
>g8.\noBeam a16 b8.\noBeam g16 a8\noBeam fs
> }
> \addlyrics {
>Go where glo -- ry waits thee,
>But, while fame e -- lates thee,
> }
>
> \relative {
>\time 3/4
>\key d \major
>\autoBeamOff
>d'8 d e16([ fs)] g8 a fs
>g8. a16 b8. g16 a8 fs
> }
> \addlyrics {
>Go where glo -- ry waits thee,
>But, while fame e -- lates thee,
> }

Ah. I see what you're saying. I had to go back and look at the
original score to realize that the only time there's beaming is when
there's a slur -- with one spot where the author / typesetter forgot a
slur -- I think: "gem" in measure 13 looks like it wants a slur, and
that's an alteration I'll make.

Re: Trying to get the hang of "Polyphony with Shared Lyrics" section of the manual.

[Kevin Cole]

On Fri, Oct 29, 2021 at 3:51 PM Lukas-Fabian Moser  wrote:
>
> Hi Kevin,
>
> Am 29.10.21 um 21:03 schrieb Kevin Cole:
> > First, I'm using LilyPond v. 2.20.0. (I often seem to end up at 2.18
> > and 2.21 when searching for documentation -- though explicitly
> > changing the URL to 2.20 works.)
> Yes, that's a bit of a nuisance.
> > Second, I guess I'm not sure what you mean by a compatible example: I
> > thought that's what I provided. But the URL below is what I'm trying
> > to convert, if that's what you mean.
>
> Not "compatible": compilable. Something that I can paste into
> Frescobaldi (or whatever editor I use) and can immediately start working
> with.
>
> If I let LilyPond compile the source you provided with your first
> message, I get a bunch of error messages and no visible score.
>
> But fortunately, the source at
> https://codeberg.org/ubuntourist/celtic_song_book/src/branch/main/source/irish/let_erin_remember_days_old.ly
> is something we can work with. :-)
>
> Looking at the scanned book you provided, it seems we get away with two
> voices: One that the lyrics should be aligned to, and another one
> indicating the subdivisions (probably for later stanzas).
>
> After I started playing a bit with your source, I ended up simplifying
> multiple things at once:
>
> \version "2.20.0"
> \language "english"
>
> \layout {
>\autoBeamOff
> }
>
> global = {
>\key ef \major
>\time 4/4
>\mergeDifferentlyDottedOn
>\mergeDifferentlyHeadedOn
> }
>
> melody = \new Voice = melody \relative {
>\partial 4
>bf4^\f
>ef4 ef8. f16 g4 g8. af16
>\voices melody,2
><<
>  { \voiceOne bf4. bf8 \oneVoice } \\
>  { bf8 bf8 bf4 }
>>>
>\oneVoice
>af4 g8 af8
>
>\break
>bf4 c4 g4 ef4
> }
>
> words = \lyricmode {
>Let
>E -- rin re -- mem -- ber the
>days of old, Ere her
>faith -- less sons be
> }
>
> \score {
><<
>  \new Staff \with { midiInstrument = violin } { \global \melody }
>  \new Lyrics \lyricsto melody { \words }
>>>
> }
>
> I'll probably forget something, but here's some of what I did:
>
> - I replaced \addlyrics by \new Lyrics \lyricsto melody (where "melody"
> is not your variable \melody, but the name melody from \new Voice = melody).
> - I made sure that the bf4. on "days" stays in the voice called melody.
> There are various ways to do this; I chose a "modern" way using \voices
> and \\ inside << >> which allows to automatically add a "second" voice
> - I switched voices at "days of old" corresponding to your original book
> - I moved the \global stuff outside the melody
> - I removed all instances of \noBeam and instead did \autoBeamOff (which
> is often more useful in vocal music, especially with lots of syllabic bits)
>
> Does that help?

Yes, thanks!

I had already thought about moving the

   \mergeDifferentlyDottedOn
   \mergeDifferentlyHeadedOn

to the global block, but the rest of it I'll meditate on.

I'll probably keep the \noBeam rather than the \autoBeamOff, since I'm
trying to faithfully reproduce the original, as much as I can. I will
leave it to others with more musical knowledge to spin off from that
as much as they like.  (There's a lot of language in the section
introductions that I personally think are horribly written, but until
I go out and collect a bunch of songs and write a book myself, I don't
feel that I should be changing the original author's words -- except
in cases of very obvious typographical errors. I'm merely transcribing
-- though I voice my opinion in the preface to the online edition.)

Re: Trying to get the hang of "Polyphony with Shared Lyrics" section of the manual.

[Kevin Cole]

On Fri, Oct 29, 2021 at 3:37 PM Guy Stalnaker  wrote:

> Kevin,
>
> You're encountering an known situation with polyphonic contexts like this 
> one. A change in 2.20.x modified how lyrics are calculated in these 
> polyphonic contexts. You need to manually add to the *lyrics* \skip1 to 
> position the lyrics where you want them. Like so:
>
> 
>
> words = \lyricmode {
>   \override LyricSpace.minimum-distance = #1.5
>   Let | %   0
>   E -- rin re -- mem -- ber the   | %   1
>   days __ \skip1 \skip1 of old, Ere her  | %   2 <-- HERE
>   faith -- less sons be --| %   3
>   trayed her; When| %   4
> }
>
> 

Ah! Wonderful! A simple quick fix. Thank you.