Re: Can \markuplist prduce uneven width columns?

[Marc Mouries]

you can obtain something close with the new \table markup-list command
http://lilypond.org/doc/v2.19/Documentation/notation/text-markup-list-commands

On Wed, Nov 27, 2019 at 7:10 AM Peter Toye  wrote:

> I'm trying to write some editorial notes for a score, and would like to
> have the references in uneven-width word-wrapped columns. The effect I want
> is something like:
>
> Bar 27This text is hopelessly garbled in the sources, which are
> also mutually
>inconsistent. The editor has produced what he hopes is a performable
>version.
>
> Bar 28"in tempo" aligned but probably best on 6/16 (in neither  of
> the primary
>sources
>
> As fas as I can see, neither \markup nor \markuptext have this facility.
>
> Regards,
>
> Peter
> mailto:lilyp...@ptoye.com 
> www.ptoye.com
>


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Re: ANN: Frescobaldi 2.20.0, Frescobaldi 3.0.0, python-ly 0.9.5

[Marc Mouries]

I get this error when I run Frescobaldi 3.0.0 on Windows 7.


​

On Tue, Mar 7, 2017 at 3:46 PM, Klaus Blum  wrote:

> Thanks to everyone who helped to make this wonderful tool available for
> Windows as well!
>
> However... I installed Frescobaldi 3.0.0 with the provided Windows
> installer, and instead of the music view, I get a simple "Could not load
> the
> popplerqt5 module".
> Sorry if this is a stupid question, but I have absolutely no clue:
> What do I have to do to have this available in Windows? Any installation
> informations are related to Linux.
>
> Thanks for any help,
> Klaus
>
>
>
>
> --
> View this message in context: http://lilypond.1069038.n5.
> nabble.com/ANN-Frescobaldi-2-20-0-Frescobaldi-3-0-0-python-
> ly-0-9-5-tp200225p200849.html
> Sent from the User mailing list archive at Nabble.com.
>
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Re: markup functions

[Marc Mouries]

this works:


#(define-markup-command (instruct layout props text) (markup?)
  (interpret-markup layout props
#{
 \markup \italic \magnify #0.7 #text

#}))


mkTenor = \markup { \instruct "tenor"}


\relative c' {
 d1-\mkTenor
}


=Marc

On Sat, Feb 18, 2017 at 9:52 AM, Rob Torop  wrote:

>
> I have a bunch of repeated things like this
>
>d f \mark \markup \italic \magnify #0.7 "(tenor & trp.)"  r16
>
> where I put a little instruction over the melody
>
> I'd like to have a little function to call instead of \mark \markup
> \italic \magnify #0.7 "blah", with the "blah" as a parameter.
>
> So I tried this
>
> #(define-markup-command  (instruct layout props text )(markup?)
>(intepret-markup layout  props
>#{
> \markup \italic \magnify #0.7 #text
>#}))
>
> and then put this in my code
>
> d f \mark \instruct "(tenor & trp.)"  r16
>
>
> But it doesn't like it!
>
> I am sure this is very easy, and maybe I should be using a music-function
> instead of the markup command definition.
>
> Can someone help me?
>
>
>
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Re: ANN: Frescobaldi 2.20.0, Frescobaldi 3.0.0, python-ly 0.9.5

[Marc Mouries]

Thank you for your work. Will you provide a .dmg file for MacOS?

On Fri, Feb 17, 2017 at 4:58 AM, Wilbert Berendsen  wrote:

> Dear friends,
>
> I just released the source packages for Frescobaldi 2.20.0, Frescobaldi
> 3.0.0 and python-ly 0.9.5 today. (I couldn't way until my birthday early
> March :-))
>
> Frescobaldi 2.20.0 provides a new Manuscript viewer, contributed by
> Urs Liska and Peter Bjuhr, some smaller features, improvements, updated
> translations and bug fixes.
>
> Frescobaldi 3.0.0 is feature-wise the same, but requires Python3 and
> Qt5. Qt5 has support for Retina displays and gestures, and Frescobaldi
> 3.0.0 already uses them, which should provide a better Music View image
> quality. Thanks to David Rydh for implementing this!
>
> Frescobaldi 3.x is the branch (master) where new development will be
> done.
>
> Development of Frescobaldi 2.x (branch v2.x) concentrates on bugfixing
> and backporting important features that can be backported from the 3.x
> branch, supporting older platforms that do not provide Python3 or Qt5.
>
> Python-ly 0.9.5 has seen some bug fixes and improvements, and is
> recommend to use, although Frescobaldi works well with 0.9.4.
>
> Thanks go to all the translators and contributors!
> Enjoy!
>
> Wilbert
>
> https://pypi.python.org/pypi/python-ly
> https://github.com/wbsoft/frescobaldi/releases
>
>
> --
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>
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Re: New LilyPond website

[Marc Mouries]

+ 1 to include lilybin not just a link but include the ability to try
lilypond directly from the browser without having to open another window.
Like the Haskell or like the ruby lang website (
https://www.ruby-lang.org/en/  see the link on the right "Try Ruby") .

2 user stories

1. a ) as a visitor with Javascript enabled, I see a lilypond expression "
c d e f g a b c'" on the left and on the right i can see the result that
was generated.
1. b)  as a visitor with Javascript enabled, I can change the lilypond
expression and automatically the score on the right is updated.

2) as a visitor with Javascript disabled, I can browse the lilypond site,
Instead of seeing the "lilybin" expression i can see an example or another
image, or an invitation to go to lilybin.com

lilybin.com could be included into the official website as part of its
new design. Something like "Try it - Type Haskell expressions in here"
in Haskell website https://www.haskell.org/

On Thu, Feb 9, 2017 at 9:24 PM, John Roper  wrote:

> in total. After enabling scripts this problem vanishes.
>>
>> In Vivaldi I don't see the background image at the top of the page at all.
>>
>
> I test using all major browsers including Vivaldi (my main browser) and I
> am not getting any of these issues.
>
> --
> John Roper
> Freelance Developer and Simulation Artist
> Boston MA, USA
> http://jmroper.com/
>
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>


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example(s) of the power of Lilypond

[Marc Mouries]

Lilypond is a very powerful music score writing software. Today examples of
this power are buried in the documenation.

I'd like to see featured on the website, examples of the power of Lilypond.
To select the best or most useful, I'd like to ask the community what is/
are your best example(s) of the power of Lilypond?

Are there examples from the documentation or from the LSR ( Lilypond
Snippet Repository:
http://lsr.di.unimi.it/LSR/Browse) that demonstrate how lilypond enables
users to write music in a shorter amount of time or write complex music
that would be more difficult to write in other music notation software?


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Re: New LilyPond website

[Marc Mouries]

First, I want to thank John for his contribution. The new design looks more
modern and gives a feeling that lilypond's community is alive.

I deal with UI at work on a daily basis and no two persons will agree on
the look and feel of a website of application. So IMHO we should focus on
making sure that the new website template mechanism can integrate with
lilypond's development flow.

For writing music, I alternate between MuseScore and Lilypond. What makes
me come back to lilypond is the power of the text interface and scripting
capabilities. And let's not forget Frescobaldi. I had written a MacOS app
for lilypond and I know how much work it is.

So one think I'd like to see more visible in the lilypond website is the
power of Lilypond's scripting capabilities. I'd like to see featured
examples from the LSR ( Lilypond Snippet Repository:
http://lsr.di.unimi.it/LSR/Browse) that show examples that are difficult or
would take more time to write in other music notation software.

I'll ask the list for their input and may be some response could be
featured.

PS: on the home page of the new website , we can read "Excellent Classical
Engraving". I'd like to  replace "Classical" something else: One
suggestion:  "Free Music Score Engraving "
- Professional

Some notes on the new layout:
1) The favicon.ico file is missing
2) the header takes too much real estate that could be used to feature some
key


I'd suggest to put everyone's feedback or action items in a google sheet
for everyone to easily review, stay up to date. Google sheets or another
similar system will be helpful for prioritizing the feedback.

-Marc

On Thu, Feb 9, 2017 at 10:49 AM, Simon Albrecht 
wrote:

> On 09.02.2017 08:35, Mats Behre wrote:
>
>> On 2017-02-09 07:41, Werner LEMBERG wrote:
>>
>>> . I like the sans-serif font more that you've used in the previous
>>>version.  Please restore it.
>>>
>> I would actually recommend not specifying a specific font at all. This
>> leaves the font selection to the user (and we will not have to debate the
>> choice endlessly ...).
>>
>
> I disagree. The choice of font conveys a lot of meaning, and we wouldn’t
> want the website to make a bad (or misleading) impression just because the
> browser by default uses a hideous font and the user didn’t bother to change
> that.
>
> Best, Simon
>
>
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Re: Experience with several import filters

[Marc Mouries]

abc2ly: I use it from time to time to convert Celtic tunes. It works but
converts the chords as markup and starting from scratch in lilypond happens
to be faster.

On Tue, Jan 3, 2017 at 7:23 PM, Noeck  wrote:

> Hi,
>
> > midi2ly
>
> I used it for freely licensed scores on cpdl or imslp which are not
> created in LilyPond and too ugly to use in a choir. Sometimes midi files
> are published together with the pdf or the proprietary format. The
> result was never usable directly (all voices in one staff without
> collision-avoidance/voice-association, no or bad lyrics, wrong key,
> scaled durations, i.e. a4*234/128 s4*22/128 instead of a2 - the latter
> problem might by fixed by finding an appropriate quanization).
>
> The problems ranged from ly files that are easily fixed to some cases
> where it was much faster to rewrite everything from scratch. I guess it
> depends on the application writing the midi file. I never systematically
> cared about that.
>
> Summary: Most of the time, midi2ly gave me a file from which I could
> extract single voices, fix some errors and put them into my own ly
> skeleton and it was worth having the tool.
>
> Cheers,
> Joram
>
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hide time signature in markup command

[Marc Mouries]

i use a shorthand mark up command to insert music snippets into text.
See below definition "WriteScore"

I'd like to add a command to hide the time signature
\override Staff.TimeSignature #'stencil = ##f

In scheme the command should be something like this :
  (make-music 'OverrideProperty
'pop-first   #t
'grob-value  #f
'grob-property-path  (list (quote stencil))
'symbol  'TimeSignature

Where can this be inserted?

%=
% WRITE SCORE
%
%=
#(define-markup-command (writeScore layout props music) (ly:music?)
   (let ((score (ly:make-score music))
 (score-layout (ly:output-def-clone $defaultlayout)))
 ;; possibly, change some settings in the \layout block
 %(ly:output-def-set-variable! score-layout 'indent 0)
 ;; add the \layout block to the score
 (ly:score-add-output-def! score score-layout)
 (interpret-markup layout props (markup #:score score) )
 ))


snippet = { c d e}
\markup {
  "Example:" \writeScore \snippet
}

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Re: sorry for the spam

[Marc Mouries]

I had requested my domain provider to set the SPF record and I thought they 
did. Apparently not :-(

Was the email really sent from nabble cause the same kind of email was sent to 
a group of friends. 

-Marc

> On May 10, 2016, at 3:55 PM, Federico Bruni  wrote:
> 
> Il giorno mar 10 mag 2016 alle 20:05, MarcM  ha scritto:
>> I am sorry but i am not sending those messages. Someone accessed my gmail
>> account, took the contacts and is spoofing my email address.
> 
> I don't think so.
> By the way, if the mail of mouries.net is handled by Google you should set a 
> SPF record in your domain DNS panel to authorize only google:
> https://support.google.com/a/answer/33786
> 
> If set, when somebody spoofs your email address, the message will be marked 
> as spam by servers who check the SPF record. I think...
> 
>> I received an email of insults from Cynthia Karl  which
>> really is not necessary. I secured my gmail account but it's apparently not
>> enough.
> 
> The message was sent from nabble, so I guess that someone stole the password 
> to log in there (not your gmail password). Try updating the password on 
> nabble.com
> 
>> Thanks for your understanding.
>> Feel free to remove me from the list.
> 
> You can do it yourself or change the email address here:
> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> (not working right now)
> 
> 
> 

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Re: Spam u don't like

[Marc Mouries]

Sorry everyone. i have an antivirus and i've changed my email password and
i set anti-spoofing command on my domain. It looks like someone/something
is using my contact list.



On Fri, Mar 4, 2016 at 5:44 AM, David Kastrup <d...@gnu.org> wrote:

> "Peter Gentry" <peter.gen...@sunscales.co.uk> writes:
>
> > How did potential malware links get into the list, it hasn't happend
> > before? If its not spam then the poster should be less cryptic
> > or he won't get anyone interested.
>
> Spam sent with a spoofed address from a list participant.
>
> The headers indicate
>
> Original-Received: from Debian-exim by eggs.gnu.org with spam-scanned
> (Exim 4.71)
> (envelope-from <m...@mouries.net>) id 1abl63-0001w5-GC
> for lilypond-user@gnu.org; Fri, 04 Mar 2016 03:28:30 -0500
> Original-Received: from mbob.nabble.com ([162.253.133.15]:52587)
> by eggs.gnu.org with esmtp (Exim 4.71)
> (envelope-from <m...@mouries.net>) id 1abl63-0001uG-8E
> for lilypond-user@gnu.org; Fri, 04 Mar 2016 03:28:27 -0500
> Original-Received: from msam.nabble.com (unknown [162.253.133.85])
> by mbob.nabble.com (Postfix) with ESMTP id A4078222658C
> for <lilypond-user@gnu.org>; Fri,  4 Mar 2016 00:20:03 -0800 (PST)
> X-detected-operating-system: by eggs.gnu.org: iOS iPhone or iPad
> X-Received-From: 162.253.133.15
>
> Which seems like an injection via Nabble.com.  Rather than a spoofed
> mail address, this would rather look like a hacked account at
> Nabble.com.  Much less likely, a hacked iPad (but what kind of
> virus/worm would try going through a Nabble account next?).
>
> Marc?  Any ideas?
>
> --
> David Kastrup
>



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Re: Default margins in Letter truncated

[Marc Mouries]

The doc says here:
http://www.lilypond.org/doc/v2.18/Documentation/notation/the-paper-block
says: Except when specified otherwise, all \paper variables that
correspond to distances on the page are measured in millimeters, unless a
different unit is specified by the user. For example, the following
declaration sets top-margin to ten millimeters:

\paper {
  top-margin = 10
}




On Sun, Jul 20, 2014 at 8:58 AM, David Kastrup d...@gnu.org wrote:

 MarcM m...@mouries.net writes:

  I just set annotate-spacing = ##t and it's showing a 2.85
 millimeters.
  That's pretty small. I don't remember being that small.
  
 http://lilypond.1069038.n5.nabble.com/file/n164707/top-margin_Lilypond_2014-07-20_at_8.png
 
 
  I added:
top-margin= 2\cm
 
  and it's showing a margin of 11.38. Shouldn't it be 20 ?
 
  http://lilypond.1069038.n5.nabble.com/file/n164707/top_margin_2cm.png

 Sure that the units are mm rather than staff spaces?

 --
 David Kastrup




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Slur collides with Sharp

[Marc Mouries]

Hi Lilyponders,

In the following measures, the slur collides with the sharp sign
I tested with 2.16 and 2.17

This does not occur in the original score from 1910.
http://erato.uvt.nl/files/imglnks/usimg/3/3a/IMSLP212816-SIBLEY1802.20456.9d77-39087017285851violin.pdf


% slur collides with the sharp sign
% happens with 2.16.2 and 2.17.21
\version 2.16.2
\language english
\paper{ ragged-right=##t }

Violin = \relative d' {
  \key g \major
  \time 3/4
 | e8 (  fs  c'  b)   fs(  ds
 | fs8  a)   g2~
}
\score {
   \new Staff {\Violin  }
   \layout {}
}

-Marc


bug Slur collides with Sharp.ly
Description: Binary data


bug Slur collides with Sharp.pdf
Description: Adobe PDF document
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SpanBar joining Ossia main staff no longer printed in 2.17

[Marc Mouries]

Hi Lilyponders,

I am typesetting a score with an ossia using the snippet:
http://lsr.dsi.unimi.it/LSR/Snippet?id=125

In version 2.16, this snippet print a spanBar joining the ossia and the
main staff.
In 2.17, the following warning is printed in the logs:

warning: No span bar glyph defined for bar glyph ':'; ignoring.


I haven't seen described in the changes page and in the doc how to migrate

\override SpanBar #'glyph-name = #:



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Fwd: barline in gregorian

[Marc Mouries]

that was my reponse to Marek and it works fine in my Bach transcriptions.

-- Forwarded message --
From: Marc Mouries m...@mouries.net
Date: Fri, Sep 9, 2011 at 2:36 PM
Subject: Re: barline in gregorian
To: Marek Klein ma...@gregoriana.sk


that's what i use:

divisioMaior = {
   \once \override Score.BarLine #'stencil =
#ly:breathing-sign::divisio-maior
}

Melody = \relative g'' {
\clef treble
\time 3/8
\key d \minor
\repeat volta 2 { %begin 1st section
%{  1 %} g16[ bfg d g  d  ] \divisioMaior
%{  2 %}bf16[ d bfg bf g  ]
%{  3 %} d16[ g d-0   bfd  bf ] \divisioMaior
%{  4 %} g16[ bfd-0   g bf d  ]


On Fri, Sep 9, 2011 at 4:29 AM, Marek Klein ma...@gregoriana.sk wrote:

 Hello,
 how can I have barline displayed in this snippet:

 \version 2.14.1
 \include gregorian.ly

 \score {
   \new VaticanaVoice \relative c'{
 c d e c \bar |
 e d c e
 }
   \layout {
   }
 }

 It used to work before, if I remember it correctly.

 (I know I can use \divisioMaxima)

 Marek
 --
 Marek Klein
 http://gregoriana.sk

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Re: Shaping slurs --- both broken and unbroken

[Marc Mouries]

2011/7/24 David Nalesnik david.nales...@gmail.com

 Hello, all --

This is on the LSR, at least.
  http://lsr.dsi.unimi.it/LSR/Item?id=639


 Just thought I'd let you know that Dmytro's function as given on the
 earlier thread incorporates an older version of my slur-shaping function.
  I've modified it since, and this newer version appears on the LSR in the
 same spot.  (It can now be easily adapted to work with grobs having fewer
 than 8 control-points -- TupletBracket, for example -- without changing the
 loop.)  In the attached file, I've incorporated the rewrite in Dmytro's
 function.

 Thanks!

 David

 This is a great function. The result is so much nicer. I'd very much like
for the the slur to be printed this way out of the box. Isn't it possible
for lilypond to compute the angles between the notes inside the slur?

-Marc
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Re: rendering png without page

[Marc Mouries]

On Tue, Jul 19, 2011 at 6:43 PM, Carl Sorensen c_soren...@byu.edu wrote:



 ...

 This is not directly documented in LilyPond, because it's not a feature of
 LilyPond, it's a feature of GhostScript.

 Thanks,

 Carl



OK but this is a frequently asked question related to exporting scores part
as image and it would be useful to put a reference to this command in the
doc.

-Marc
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Re: Lilypond making my Macbook Pro run slow

[Marc Mouries]

On Tue, Jul 19, 2011 at 10:07 AM, Tim McNamara tim...@bitstream.net wrote:

 Marc-


 I traced the problem to improperly set permissions for the binary
 executable LilyEditor in
 LilyEditor.app  Contents  MacOS  LilyEditor.  Your application arrives
 with permissions set to read and write but not to execute.  Using Terminal
 to navigate to the MacOS directory inside the app and doing chmod u+x
 LilyEditor fixes the problem, but most Mac users will not know how to do
 this. What's weird is that it shouldn't launch for you, either, with those
 permissions the way they are.

 Once it's running, it looks good- very basic but that of course is the
 point.  There are a couple of nice features including being able to resize
 the editing window and the file name window at the bottom.  I really like
 the side by side panes showing the .ly file and the .pdf file- nice touch.

 If you're thinking about continuing development, I'd like to be able to
 swap them and put the .pdf on the left and the .ly on the right (I'm not
 sure why, it just feels more natural to me).  One minor bit of polishing is
 that under File the hide option text is Hide NewApplication rather than
 Hide LilyEditor.  It would also be nice to have a keyboard command to run
 Lilypond instead of clicking the button; maybe that's there and I missed it.
  Also, the application doesn't remember font settings or window sizing
 between launches; it would be nice to have that as well.  The default font
 size is too small on my MacBook Pro for my middle aged eyes.

 I could easily see this being my standard editor for LilyPond.  I've used
 Smultron/Fraise and Emacs mostly; they have their strengths and weaknesses
 but for the most part they are just somewhere to type the code.  I tried the
 jEdit (or is it JEdit?) plugin for Lilypond and really didn't like that.
  Java apps generally aren't great on the Mac.  Yours accomplishes the key
 things which are syntax highlighting, convenient running of Lilypond to
 render the score and having the PDF displayed in the same app as the .ly
 file.  Nice work.

 Tim


 On Jul 6, 2011, at 9:35 PM, Marc Mouries wrote:

  Very much like lilyPad I built a simple lilypond editor and added syntax
 coloring. You may want to download it and try it
  https://www.dropbox.com/s/4tig7qmcpamb1w4/LilyEditor.app
 
  -Marc


Tim,

I am glad my simple Lilypond editor for Mac is helpful.

I implemented your wishes below and made a new version available here:
http://dl.dropbox.com/u/172729/LilyEditor_v0.6.zip

Changes:

LilyEditor v0.6 - 2011/07/19
- added keyboard command to run Lilypond instead of clicking the lilypond
button
- increased font size.
- changed the text of the File/hide from Hide NewApplication to Hide
LilyEditor.
- added support for the application to remember window position and size
between launches

remaining wishes:
- be able to put the .pdf view on the left and the .ly view on the right
- allow user to set their own font and size

-Marc
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Re: Lilypond making my Macbook Pro run slow

[Marc Mouries]

 
 What exactly does 'keep lilypond open' mean in this context? It just runs
 once, sprouts a pdf and then stops. That's why I can't understand what else
 would be running unless we have a memory leak somewhere?

 LilyPad is as far as I can see a very lightweight editor (and much easier
 to use than bother with mucking about with plug ins for things like Smultron
 which just got in the way).

 You leave LilyPad alone! :P She's done me proud and I wouldn't use anything
 else on a Mac (thanks to whoever came up with that BTW).

 :)

 James



Very much like lilyPad I built a simple lilypond editor and added syntax
coloring. You may want to download it and try it
https://www.dropbox.com/s/4tig7qmcpamb1w4/LilyEditor.app

-Marc
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Re: markup for partial measures

[Marc Mouries]

On Fri, Jun 24, 2011 at 11:57 AM, Henning Hraban Ramm hra...@fiee.netwrote:

 Greetings again,

 since I mostly typeset folk songs, I need a lot of \partial measures (e.g.
 at the end or at repeats).

 I can't understand why LilyPond since 2.13.xx throws warnings that \partial
 is only allowed at the beginning of a score.

 The manual says, I should use a monster like \set Timing.measurePosition =
 #(ly:make-moment -4) instead of a simple \partial 4.


I like you was initially surprised that \partial are only allowed at the
beginning. However I found that this can be avoided by simply moving the
repeat sign. Example: Usually fold songs are written like this:
\time 4/4  |:  a8  | ..   |  ... | a2.  :| where 2 partials are needed.
I workaround it by writing it like this
\time 4/4  |  a8  |: ..   |  ... | a2.  a8:| where 1 partial is needed
and repeating the first note in the last measure.

-Marc
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Re: markup for partial measures

[Marc Mouries]

On Fri, Jun 24, 2011 at 4:00 PM, Reinhold Kainhofer
reinh...@kainhofer.comwrote:

 Am Freitag, 24. Juni 2011, 18:56:00 schrieb Marc Mouries:
 For a better understanding and some examples, I would recommend LilyPond's
 notation reference:
 http://kainhofer.com/~lilypond/Documentation/notation/long-repeats.html

  I workaround it by writing it like this
  \time 4/4  |  a8  |: ..   |  ... | a2.  a8:| where 1 partial is
 needed
  and repeating the first note in the last measure.

 No need for that workaround. LilyPond supports repeats starting at any
 point
 in the measure, not necessarily at a bar line...

 Cheers,
 Reinhold



thanks for the information but i really prefer my workaround because the
score in the example on the long-repeats is 1) incorrect as the code says
repeat volta 4 and the score does not show that some measure need to be
repeated 4 times and 2) the score looks rather bizarre with incomplete
measure.
http://kainhofer.com/~lilypond/Documentation/89/lily-c818abba.png

I re-coded the example. In the end the music played will be the same but the
scores look different.
Do you really prefer score with incomplete measure?


partial and repeat.ly
Description: Binary data


partial and repeat.pdf
Description: Adobe PDF document
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Re: markup for partial measures

[Marc Mouries]

On Fri, Jun 24, 2011 at 1:36 PM, Henning Hraban Ramm hra...@fiee.netwrote:

 Am 2011-06-24 um 18:56 schrieb Marc Mouries:


  I like you was initially surprised that \partial are only allowed at the
 beginning. However I found that this can be avoided by simply moving the
 repeat sign. Example: Usually fold songs are written like this:
 \time 4/4  |:  a8  | ..   |  ... | a2.  :| where 2 partials are
 needed.
 I workaround it by writing it like this
 \time 4/4  |  a8  |: ..   |  ... | a2.  a8:| where 1 partial is needed
 and repeating the first note in the last measure.



 Thank you, but mostly I have no choice but must reproduce some original.


i have typeset several traditional score and don't remember seeing score
with incomplete measures. Would you mind sending me or pointing me to some
example?




 Greetlings from Lake Constance
 ---
 fiëé visuëlle
 Henning Hraban Ramm
 http://www.fiee.net
 http://angerweit.tikon.ch/**lieder/ http://angerweit.tikon.ch/lieder/
 https://www.cacert.org (I'm an assurer)



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Re: Dynamic + text aligned: BEST solution?

[Marc Mouries]

On Fri, Jun 24, 2011 at 6:44 PM, Valentin Villenave
valen...@villenave.netwrote:


 If you have some time, please do read
 http://lilypond.org/doc/v2.15/Documentation/extending/scheme-in-lilypond
 and
 http://www.gnu.org/software/guile/manual/
 it makes for a fascinating reading reading experience, at least if
 you're anything like me.


You can also watch this MIT video course: Overview and Introduction to Lisp
http://www.youtube.com/watch?v=2Op3QLzMgSY




 Feel free to ask me directly if you need more explanations about this
 code or what I'm using now:
 http://git.savannah.gnu.org/cgit/opus-libre.git/tree/bin/text.scm#n26

 Cheers,
 Valentin.


Valentin,

Is there a doc about opus-libre with examples?
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Re: How to generate small example PNGs

[Marc Mouries]

On Thu, Jun 23, 2011 at 6:06 AM, Ralf Mattes r...@mh-freiburg.de wrote:

 Hello list,

 for a webproject with music examples I need to create PNG files with small
 mucic examples. I'm shure I once had some examples but I can't find them
 any more. I'm currently invoking lilypond like this:

  lilypond --png --output=cadence_3 94244234-tmp.ly

 The file looks something like this:

  \version  2.11.49

 \header {
  tagline = ##f
 }

 \paper {
  raggedright = ##t
  raggedbottom = ##t
 }
 \score {
 {
 
  \new Staff \relative c' {\clef violin e g c a c d, f a c f g b e
 g c }
  \new Staff {\clef bass   e f d g  c }
 
 }

 }
 \layout {
  indent = 0\mm
 }


 But the png still displays a whole (almost empty) page. What am I missing?

 TIA Ralf Mattes


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this will help:
http://lilypond.org/doc/v2.14/Documentation/usage/lilypond-output-in-other-programs

To reduce the white space around your LilyPond score, use the following
options

\paper{
  indent=0\mm
  line-width=120\mm
  oddFooterMarkup=##f
  oddHeaderMarkup=##f
  bookTitleMarkup = ##f
  scoreTitleMarkup = ##f
}


{ c1 }
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re: orchestra and individual parts

[Marc Mouries]

 Marc Mouries marc at mouries.net writes:

 
  The common templates for orchestral music require to remove comments when
  using separate files. (ex: http://lsr.dsi.unimi.it/LSR/Item?id=359).
  I am using the following structure that does not require commenting and
  un-commenting the score parts but this requires to create one more file
 for
  each part to generate the individual part.

 The snippet you linked to can be used without repeated commenting and un-
 commenting.

 The intention was that you remove the indicated comments once and forever,
 and split the one file from the LSR into several files:

 piece.ly  score.ly  vn1.ly  vn2.ly  vla.ly  vlc.ly

 All the notes for all the instruments are in piece.ly (Some people would
 name it
 piece.ily to indicated that it is only included in other files, and does
 not
 create a score on its own.)



the problem with this approach is that one has to edit one file that
contains all the music, (which can be long) then has to switch to another
file that contains the score part for the part currently being edited. It
seems a simple things but it makes a big difference when one has to do that
over and over.
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list of changes in minor versions

[Marc Mouries]

I just saw that version 2.15.2 was released. Is there a page somewhere
listing the list of bug fixed?

PS: I went to
http://lilypond.org/doc/v2.15/Documentation/changes-big-page.html but the
page lists changes about the major version from 2.12 to 2.14

-Marc
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orchestra and individual parts

[Marc Mouries]

The common templates for orchestral music require to remove comments when
using separate files. (ex: http://lsr.dsi.unimi.it/LSR/Item?id=359).

I am using the following structure that does not require commenting and
un-commenting the score parts but this requires to create one more file for
each part to generate the individual part.

   pieceName_instrument-1-part.ly
   pieceName_instrument-1-score.ly
   pieceName_instrument-2-part.ly
   pieceName_instrument-2-score.ly
   pieceName_score.ly

I thought about defining a macro (like IFDEF in C++) that would un-comment
the \score block in each of the instrument part if the file has been
included.

Example in pseudo code:

   pieceName_instrument-1-part.ly
   = contains  the following code:

If ( FILE_IS_INCLUDED) {
%{
\score {
  
  instrument_1
}
%}

Any idea if that is possible?




   pieceName_instrument-2-part.ly
   pieceName_score.ly
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Re: misaligned rest in quatuor in 2.14.1

[Marc Mouries]

On Wed, Jun 15, 2011 at 8:49 AM, Ralph Palmer ralphbugl...@gmail.comwrote:


 On Tue, Jun 14, 2011 at 9:27 PM, Marc Mouries m...@mouries.net wrote:

 Here is a simple example of a quatuor that shows that the first rest in
 the
 Vln 3 staff is misaligned and too close to the G.

 -Marc



 I believe someone responded to this on the regular user list. Just in  case
 :
 The first rest in the Vln 3 staff should be r2, rather than R2. R2
 means a 2 measure rest; r2 means a half-note rest. Changing the rest to r2
 moves the rest to the same measure location as the similar rest in Vln 1 or
 Vln 2.

 Ralph

 thanks all for your assitance.
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misaligned rest in quatuor in 2.14.1

[Marc Mouries]

Here is a simple example of a quatuor that shows that the first rest in the
Vln 3 staff is misaligned and too close to the G.

-Marc


misaligned rest in quatuor.ly
Description: Binary data
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question on a bach's canon: mordent repeat

[Marc Mouries]

Let me know if this is off-topic but i thought someone on the list might
know the answers.
I am transcribing a Canon from Bach and would like your input.

*1) The sign of the last measure.*
The manuscript here: http://www.greatjsbach.net/mscript_img/bwv1073.jpg and
the score on IMSLP show at the end what looks like a mordent but is not
attached to a note. Would you have any idea about what it means?


*2) Repeat*
The manuscript shows marks indicating where each voice starts. The repeats
however are not clear.
One score on IMSLP adds a rest before the repeat while another score found
on Icking Archive does not.
Any idea which one is right?

http://imslp.org/wiki/Canon_in_A_minor,_BWV_1073_%28Bach,_Johann_Sebastian%29
http://icking-music-archive.org/scores/bach/bwv1073/


-Marc
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Re: question on a bach's canon: mordent repeat

[Marc Mouries]

On Tue, Jun 14, 2011 at 10:24 PM, Music Teacher alicuota...@gmail.comwrote:

 Hi Marc, Salut collègue (?)


Salut


 1) The final sign ist just what Bach uses at the end of ligne, when he
 cannot complete a measure at a line end. Just to indicate how it
 continues on the next line.


I don't mean the sign on the last bar of each staff but the sign in the
final bar of the music, right after g8 a8 b4 that looks like a mordant.


2) The brass-transcription has parallels at the end (last 3 bars
 before repeat, bass and sopran), and that surely not the idea.


Do you mean the one on IMSLP? I thought that was the more accurate one.



 Best greetings
 Francois

 2011/6/14, Marc Mouries m...@mouries.net:
  Let me know if this is off-topic but i thought someone on the list might
  know the answers.
  I am transcribing a Canon from Bach and would like your input.
 
  *1) The sign of the last measure.*
  The manuscript here: http://www.greatjsbach.net/mscript_img/bwv1073.jpgand
  the score on IMSLP show at the end what looks like a mordent but is not
  attached to a note. Would you have any idea about what it means?
 
 
  *2) Repeat*
  The manuscript shows marks indicating where each voice starts. The
 repeats
  however are not clear.
  One score on IMSLP adds a rest before the repeat while another score
 found
  on Icking Archive does not.
  Any idea which one is right?
 
 
 http://imslp.org/wiki/Canon_in_A_minor,_BWV_1073_%28Bach,_Johann_Sebastian%29
  http://icking-music-archive.org/scores/bach/bwv1073/
 
 
  -Marc
 

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Re: why does lily prints both a natural and sharp sign?

[Marc Mouries]

2011/6/11 Janek Warchoł lemniskata.bernoull...@gmail.com


 
  I've looked at Ted Ross, Kurt Stone, Gardner Read and Elaine Gould and
 can't
  find any explicit mention of this.

 AFAIK this was a common practice in XIXth century engraving (a period
 that LilyPond tries to mimic), but it is considered now obsolete, at
 least by some people
 (http://icking-music-archive.org/lists/sottisier/sottieng.pdf page 6).

 HTH,
 Janek



thanks for the link that's really interesting. I know that Lilypond's goal
is to produce score similar to manual hand-graved scores but should lilypond
try to mimic obsolete XIXth century engraving rules?


Would it be useful to the lilypond community to generate a lilypond version
of the excerpt in the referenced document Essay on the true art of music
engraving?
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why does lily prints both a natural and sharp sign?

[Marc Mouries]

in the following code, lily prints both a natural and sharp sign before the
G #.

Why?
Is there a way to avoid that?

\version 2.14
\language english
{ \relative d' {
\key df \major
 df ef f gs af bf c df
}
}

-Marc
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equivalence of old XXX-spacing to new flexible vertical spacing commands

[Marc Mouries]

Is there a doc page in 2.13 listing the equivalence between the old 
spacing commands to the new flexible vertical spacing commands?


I checked the page:
http://kainhofer.com/~lilypond/Documentation/notation/flexible-vertical-spacing-_005cpaper-variables.html#list-of-flexible-vertical-spacing-_005cpaper-variables

and from the text it's not clear. IMHO, the old names were more 
self-intuitive, like after-title-spacing


-Marc


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Re: convert from .mus to .ly (Bach BWV 1073: Canon )

[Marc Mouries]

On 5/24/2011 10:01 PM, Shane Brandes wrote:

Yes. First you must convert the Finale 2002 file to a Finale version
that supports exporting to a .xml version (Finale 2007 or thereabouts)
and then from there it is usually easy to convert the .xml file to .ly
using xml2ly.

Shane

On Tue, May 24, 2011 at 9:53 PM, Marc Mouriesm...@mouries.net  wrote:

I'd like to make an arrangement of  Bach BWV 1073: Canon.
I found the  Finale 2002 source files2 on the icking-music-archive.org and
would like to know if there is a way to convert them to lilypond.

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Thanks for chiming in. Last time i tried to convert with musicxml2ly to 
convert to lilypond the result was really ugly and was likely more work 
than writing the piece from scratch.


This piece is a canon where the 4 instruments play the same notes but 
using a different key.

http://erato.uvt.nl/files/imglnks/usimg/f/f7/IMSLP88821-PMLP18465-BWV_1073.pdf

I want to transpose it for 4 violins

Would anyone has a script that would allow me to transpose and generate 
the lilypond code for the other violins?


Example: generateAndTranspose +3 a4 a8 b c4  c8 d ... would generate 
c4 c8 d e4  e8 f ...


-MM





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Re: convert from .mus to .ly (Bach BWV 1073: Canon )

[Marc Mouries]

On 5/26/2011 9:27 PM, Colin Campbell wrote:

On 11-05-26 11:18 AM, Marc Mouries wrote:

On 5/24/2011 10:01 PM, Shane Brandes wrote:

Yes. First you must convert the Finale 2002 file to a Finale version
that supports exporting to a .xml version (Finale 2007 or thereabouts)
and then from there it is usually easy to convert the .xml file to .ly
using xml2ly.

Shane

On Tue, May 24, 2011 at 9:53 PM, Marc Mouriesm...@mouries.net  wrote:

I'd like to make an arrangement of  Bach BWV 1073: Canon.
I found the  Finale 2002 source files2 on the 
icking-music-archive.org and

would like to know if there is a way to convert them to lilypond.

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Thanks for chiming in. Last time i tried to convert with musicxml2ly 
to convert to lilypond the result was really ugly and was likely more 
work than writing the piece from scratch.


This piece is a canon where the 4 instruments play the same notes but 
using a different key.
http://erato.uvt.nl/files/imglnks/usimg/f/f7/IMSLP88821-PMLP18465-BWV_1073.pdf 



I want to transpose it for 4 violins

Would anyone has a script that would allow me to transpose and 
generate the lilypond code for the other violins?


Example: generateAndTranspose +3 a4 a8 b c4  c8 d ... would 
generate c4 c8 d e4  e8 f ...


-MM






The simplest thing would be the \transpose command:

\version 2.13.61



violinI = \relative c''

{ a4 a8 b c4 c8 d}



violinII = \transpose a c'
{\violinI}



\score {



\violinI

\violinII




HTH, and the Notation Reference section 1.2.1 is a good place to 
start, too!


Colin
--


i need to generate the actual lilypond notes and not just use the 
transpose because I'd like to be able to add fingerings.


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Re: convert from .mus to .ly (Bach BWV 1073: Canon ) - SOLVED

[Marc Mouries]

This piece is a canon where the 4 instruments play the same notes 
but using a different key.
http://erato.uvt.nl/files/imglnks/usimg/f/f7/IMSLP88821-PMLP18465-BWV_1073.pdf 



I want to transpose it for 4 violins

Would anyone has a script that would allow me to transpose and 
generate the lilypond code for the other violins?


Example: generateAndTranspose +3 a4 a8 b c4  c8 d ... would 
generate c4 c8 d e4  e8 f ...


-MM


i need to generate the actual lilypond notes and not just use the 
transpose because I'd like to be able to add fingerings.




I found this website which allows to transpose lilypond code:
http://www.izmatazia.nl/snel/transposer.php


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convert from .mus to .ly (Bach BWV 1073: Canon )

[Marc Mouries]

I'd like to make an arrangement of  Bach BWV 1073: Canon.
I found the  Finale 2002 source files2 on the icking-music-archive.org and 
would like to know if there is a way to convert them to lilypond.

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Re: Problems when adding chords

[Marc Mouries]

On 5/18/2011 2:48 AM, Keith OHara wrote:

Fabian Binzfabianbinzat  yahoo.de  writes:

whenever I try to add chords to my score, I
get a GhostScript-related error message  when it tries to convert the ps file
to pdf.

Fabian,
   This sounds like the problem described at
http://code.google.com/p/lilypond/issues/detail?id=1562

Not much progress has been made so far, because it is not clear exactly how to
reproduce it.  There is some information at that link about how to avoid the
problem.  If you discover anything about the cause, you might share the
information with the bug-lilypond mailing list.



I can reproduce the exact same problem on Windows 7 as well.


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Re: with 2.13.61, file on wikipedia no longer compiles

[Marc Mouries]

On 5/12/2011 4:21 AM, Phil Holmes wrote:

- Original Message - From: Marc Mouries m...@mouries.net
To: Nick Payne nick.pa...@internode.on.net
Cc: lilypond-user@gnu.org
Sent: Thursday, May 12, 2011 4:05 AM
Subject: Re: with 2.13.61, file on wikipedia no longer compiles




On May 11, 2011, at 10:51 PM, Nick Payne wrote:


On 12/05/11 12:46, Marc Mouries wrote:

On 5/11/2011 10:26 PM, Nick Payne wrote:
I did a copy and paste of the ly source from that web page, saved 
it as UTF-8, and it builds without any errors at all. Lilypond 
2.13.61 running on Ubuntu amd64.


Nick

thanks for checking out.
I converted the file to UTF-8 and now the pdf gets generated but 
it's blank.


I get the PDF score as expected...



damn windows! it works on my Mac.
Would anyone mind to check on a Windows box?



Vista.  The file as supplied produces 10s of thousands of warnings, as 
you say.  Save it as UTF8 and it compiles cleanly and looks as I 
expect it to.


--
Phil Holmes


I am glad to have found that this problem has already been reported here:

http://code.google.com/p/lilypond/issues/detail?id=1562

It seems there is a problem on Windows 7 SP1.


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Re: with 2.13.61, file on wikipedia no longer compiles

[Marc Mouries]

On 5/18/2011 10:40 AM, Phil Holmes wrote:
It's actually a different problem.  The first was to do with accented 
characters in a file which was not UTF encoded.  The one you refer to 
is a problem with the sans font and Windows 7 SP1. 
once the file has been encoded as UT8 i encountered the same pb reported 
here:


http://code.google.com/p/lilypond/issues/detail?id=1562

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Re: ppp on harmonics is too close to the bar line than normal notes

[Marc Mouries]

do you need more info or help to fix that ?

On May 14, 2011, at 6:49 PM, Marc Mouries wrote:

 
 When a note is defined as an harmonic it creates a side effect on the 
 position of dynamics.
 In this example, when the note D is a normal note the ppp does not touch the 
 bar line however when it is an harmonic it does touch.
 
 PastedGraphic-1.png
 
 
 
 %% When a note is defined as an harmonic it creates a side effect on the 
 position of dynamics.
 %% In this example, when the note D is a normal note the ppp does not touch 
 the bar line however when it is an harmonic it does touch.
 \version 2.13.61
 \language english
 
 #(set-global-staff-size 24)
 
 violinOne = \relative c'' { 
| d1
| d,1\ppp 
| d\harmonic1\ppp
 
}
 violinTwo = { d'1 d'1 d'1}
 
 \score {
  \new StaffGroup 
\new Staff  \violinOne 
\new Staff  \violinTwo 
 
  \layout { }
  \midi { }
 }
 
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LSR is not available

[Marc Mouries]

FYI the LSR is not available at this hour
http://lsr.dsi.unimi.it/

HTTP Status 404 - Servlet SearchPage is not available

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text after dynamic

[Marc Mouries]

i need to have a a tempo indication right after a note with a forte dynamic.
When i type the following lilypond code I get the text below the dynamic. 
That's logical as the both the dynamic and markup are attached to the note but 
how can i have the rallentando after the forte?

\version 2.13.61
\language english

rall = \markup { \bold \italic rall. }
aTempo = \markup { \bold \italic a tempo }

\score {
   \new Staff {
  \relative c'' { e2 f2 \f _\rall  fs2\pp _\aTempo}
   }
   \layout {}
}

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Re: text after dynamic (unrelated to the dynamic) / left or right markup

[Marc Mouries]

thanks for text that is related to dynamics i already use a simpler version of 
the same command:
piuF = \markup { \italic più \dynamic f }


this makes sense for text that is related to the dynamic such as molto forte, 
piu forte, ... but does not make sense for text that is unrelated like 
- forte then rallentando
- forte then a tempo
- mezzo-forte than calmato
- forte than appassionato
 
because this requires the creation of one-of command for each dynamic and 
custom indication from the composer.

It would be better to be able to attach the text to an invisible note or better 
to the left or right of the note.
Today we can print text below or above with
- f2 \f _below
- f2 \f ^above

why not add a command that would allow to print text left or right?
-  \markupLeft left f2 \f 
-   f2 \f \markupRight right


-Marc





On May 14, 2011, at 10:29 AM, -Eluze wrote:

 
 
 Marc M wrote:
 
 
 i need to have a a tempo indication right after a note with a forte
 dynamic.
 When i type the following lilypond code I get the text below the dynamic. 
 That's logical as the both the dynamic and markup are attached to the note
 but how can i have the rallentando after the forte?
 
 see NR: New dynamic marks
 
 e.g.
 
 moltoF = #(make-dynamic-script
(markup #:normal-text molto
#:dynamic f))
 
 Eluze
 -- 
 View this message in context: 
 http://old.nabble.com/text-after-dynamic-tp31618085p31618180.html
 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
 
 
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ppp on harmonics is too close to the bar line than normal notes

[Marc Mouries]

When a note is defined as an harmonic it creates a side effect on the position 
of dynamics.
 In this example, when the note D is a normal note the ppp does not touch the 
bar line however when it is an harmonic it does touch.

inline: PastedGraphic-1.png



%% When a note is defined as an harmonic it creates a side effect on the 
position of dynamics.
%% In this example, when the note D is a normal note the ppp does not touch the 
bar line however when it is an harmonic it does touch.
\version 2.13.61
\language english

#(set-global-staff-size 24)

violinOne = \relative c'' { 
| d1
| d,1\ppp 
| d\harmonic1\ppp

}
violinTwo = { d'1 d'1 d'1}

\score {
  \new StaffGroup 
\new Staff  \violinOne 
\new Staff  \violinTwo 
  
  \layout { }
  \midi { }
}

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with 2.13.61, file on wikipedia no longer compiles

[Marc Mouries]

I tried to compile the lilypond file in for the song Au clair de la 
Lune in Wikipedia

http://en.wikipedia.org/wiki/File:Ly_au_clair_de_la_lune_accords_melodie_paroles.png

It used to compile with 2.11, 2.12.

The log files contains 100's lines like this:
programming error: invalid UTF-8 string
continuing, cross fingers

-Marc
\header {
   title = Au clair de la Lune
   composer = Jean-Baptiste Lully ?
}

\score {

   

  \chords {
 \frenchChords
 \repeat unfold 2 {
c1 c4 g4 c2
 }
 d2:m a d g
 c1 c4 g4 c2
  }

  \relative c' {

 \clef treble
 \time 4/4
 \tempo 4=80

 \repeat unfold 2 {
c8 c c d e4 d c8 e d d c2
 }
 d8 d d d a4 a d8 c b a g2 
 c8 c c d e4 d c8 e d d c2
 \bar |.
  }
 
  \addlyrics {
 \set stanza = 1. 
 Au clair de la Lu -- ne
 mon a -- mi Pier -- rot
 pre -- te moi ta plu -- me
 pour e -- crire un mot
 ma chan -- delle est mor -- te
 je n'ai plus de feu
 ou -- vre moi ta por -- te
 pour l'am -- our de dieu
  }

  \addlyrics {
 \set stanza = 2. 
 Au clair de la Lu -- ne
 Pier -- rot ré -- pon -- dit
 je n'ai pas de plu -- me
 je suis dans mon lit
 va chez la voi -- si -- ne
 je crois qu'elle y est
 car dans sa cui -- si -- ne
 on bat le bri -- quet
  }

   

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Re: with 2.13.61, file on wikipedia no longer compiles

[Marc Mouries]

On May 11, 2011, at 10:51 PM, Nick Payne wrote:

 On 12/05/11 12:46, Marc Mouries wrote:
 On 5/11/2011 10:26 PM, Nick Payne wrote:
 I did a copy and paste of the ly source from that web page, saved it as 
 UTF-8, and it builds without any errors at all. Lilypond 2.13.61 running on 
 Ubuntu amd64.
 
 Nick
 thanks for checking out.
 I converted the file to UTF-8 and now the pdf gets generated but it's blank.
 
 I get the PDF score as expected...


damn windows! it works on my Mac.
Would anyone mind to check on a Windows box?


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bug triplet line collides with fingering

[Marc Mouries]

In this snippet the triplet line collides with the fingering.

\version 2.13.60
\language english

Violin = \relative d'' {
  \times 2/3{d4 a8-4}
}
\score {
   \new Staff { \Violin  }
   \layout {}
}
inline: PastedGraphic-2.png

I know i could use \once \override TupletBracket #'direction = #DOWN but 
there are already many situations where lilypond detects collisions and adapt 
the music elements accordingly so i am wondering if that's a situation that is 
not correctly handled or a limitation.

-Marc


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Re: bug triplet line collides with fingering

[Marc Mouries]

On Apr 20, 2011, at 3:04 PM, Marc Mouries wrote:

 In this snippet the triplet line collides with the fingering.
 
 \version 2.13.60
 \language english
 
 Violin = \relative d'' {
  \times 2/3{d4 a8-4}
 }
 \score {
   \new Staff { \Violin  }
   \layout {}
 }
 PastedGraphic-2.png
 
 I know i could use \once \override TupletBracket #'direction = #DOWN but 
 there are already many situations where lilypond detects collisions and adapt 
 the music elements accordingly so i am wondering if that's a situation that 
 is not correctly handled or a limitation.
 
 -Marc
 
 


I changed the direction of the TupletBracket but now it collides with the slur!
Shouldn't lilypond adapt the length of the bracket and the starting point of 
the slur?

inline: PastedGraphic-3.png

\version 2.13.60
\language english

Violin = \relative d' {
  \key d \major
  \once \override TupletBracket #'direction = #DOWN
  \times 2/3 {d'4\flageolet a8-4(} \times 2/3{fs d a)} 
}
\score {
   \new Staff {\Violin  }
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length of stems of sextuplets is too short

[Marc Mouries]

As you can see on this snippet thelength of stems of sextuplets is too short. The length of the stems extend for 32th but not for the 8th notes.Is there anything i should do or is there something wrong is the default values?inline: Screen shot 2011-04-16 at 2.41.05 PM.png%% the sextuplets look compressed. The stems are too short.\version "2.13.60"\language "english"\paper{ ragged-right=##t }\relative g' { \key a \major \times 2/3 {e'8 gs a} \times 2/3 {b a gs} \times 4/6 {e16 gs a b a gs} \times 4/12 {e32 gs a b a gs  e32 gs a b a gs}}%% the sextuplets look compressed. The stems are too short.
\version 2.13.60
\language english
\paper{ ragged-right=##t }

\relative g' {
\key a \major
\times 2/3 {e'8 gs a}  \times 2/3 {b a gs}
	\times 4/6 {e16 gs a b a gs}
	\times 8/12 {e32 gs a b a gs   e32 gs a b a gs}

}
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slur collides with ledger line grace note size

[Marc Mouries]

  
  
I tested with both 2.12 and 2.13 and in both versions the slur
collides with the ledger line


In the picture of the old score i have the slur is moved below the
ledger line. How can we do the same with lilypond?


I also noticed that lilypond prints grace note with a little bigger
proportion than usual. Is there a way i can change the size and how
close grace notes are from the next notes? 

thanks,

-Marc
  

%% the slur collides with the ledger line
\version 2.13.59
\language english
\paper{ ragged-right=##t }
\relative g'' {
  \key d \major
  d4 \acciaccatura cs'8 d4 d, r4
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swing rhythm in midi output?

[Marc Mouries]

Is possible to write regular eight notes and set settings in midi output to 
generate a swing rhythm like?

inline: SwingRhythm.gif

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how to set a partial measure after the beginning of a piece?

[Marc Mouries]

I checked the doc here:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Displaying-rhythms

and it says: partial command is intended to be used only at the beginning of a 
piece.  If you use it after the beginning, some odd warnings may occur. 

Any pointer about how to achieve this?

The fiddle piece is composed of 2 parts

part 1 = 4/4 | partial 4  |  notes  | measure  with 3 beats :|
part 2 =  partial 4 |  partial 4  |  notes  | measure  with 3 beats :|



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Mismatch version number in 2.13.58 on Windows

[Marc Mouries]

I just installed 2.13.58 on Windows and when i run lilypond I get
C:\lilypond
GNU LilyPond 2.13.54
Usage: lilypond [OPTION]... FILE...

Anyone else gets that?

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Re: Mismatch version number in 2.13.58 on Windows

[Marc Mouries]

On 4/8/2011 5:21 PM, Marc Mouries wrote:

I just installed 2.13.58 on Windows and when i run lilypond I get
C:\lilypond
GNU LilyPond 2.13.54
Usage: lilypond [OPTION]... FILE...

Anyone else gets that?


It seems that the uninstaller of lilypond 2.14.54 did not work well.
If i uninstall it 2.13.58 and ran lilypond.exe I get 2.14.54 but it 
generates an error.

Then i re-install 2.13.58 and i get

C:\Program Files (x86)\LilyPond\usr\binlilypond
GNU LilyPond 2.13.58

If i type: C:\lilypond.exe, I get
GNU LilyPond 2.13.54



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abc2ly limitations?

[Marc Mouries]

I am trying to convert an Irish Fiddle tune and abc2ly complains about 
grace notes, repeat signs and text quotes.
Are the limitations of abc2ly documented anywhere? Any workaround to 
import the file?

http://abcnotation.com/tunePage?a=trillian.mit.edu/~jc/music/abc/mirror/Perron-Miller/Dr_Gilbert_1/

thanks,

-Marc

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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

[Marc Mouries]

On 3/25/2011 5:17 PM, Kieren MacMillan wrote:

David,


Again: staring into the sun is not overstimulation since it is not
overloading the sensors with content but rather blocking them.  Looking
into the sun can't be characterized as I am seeing too much.

There's clearly a semantic misunderstanding here, and it doesn't look like it's 
clearing up.
Regardless of the word used -- or who's using it backwards -- the point is that 
kids today are apparently less sensitive to stimulus than they used to be.

Kieren.
Of course. We are overstimulated so it becomes the norm. Then to get 
stimulated the level of stimulation has to be raised. Just think about a 
subject like nudity where the level of stimulation raised from seeing an 
ankle to a knee, ... or a neck,  and shorten the length of skirts over 
time ;-)


To come back to music, there is ton of crap music (rich internet 
sensation?) and Lilypond can help compose and interpret great music.  I 
hope we can all agree on that one ;-)


-Marc

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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

[Marc Mouries]

On 3/22/2011 9:57 PM, Graham Percival wrote:


Pop music (and thus a lot of Vocaloid stuff) gets a bad rap for
using the I IV V I chord progression a lot, but I don't see that
amount of predictability to be any worse than classical music's
predictability of beat strength in 4/4 time
(strong-weak-medium-weak).

Cheers,
- Graham


Generalizing is always a bad idea. Listen to J.S. Bach's sonatas and you 
will be hard pressed to find predictability in the beat strength. Even 
the harmony is hard to predict. These are ones of the hardest piece to 
remember for that.


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Re: Suppress NoteNames output on ties ?

[Marc Mouries]

On 3/21/2011 4:59 PM, Gilles THIBAULT wrote:



Could/did you add this to the LSR?

Done
http://lsr.dsi.unimi.it/LSR/Item?id=760

Gilles
shouldn't this be the default behavior of context NoteNames and thus 
changed added to the context NoteNames instead of the LSR?


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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

[Marc Mouries]

This is intellectually interesting but the question is not who deserves to create good 
music? but rather who wants to listen to music made by someone that does not 
practice? and who wants to listen to music played by a computer? Sure many times, nowadays, 
the rendition of a computer playing is quite good but who cares? Art conveys emotions which are the 
one thing that make us human and thus should be played by human. What's the end goal of such 
system? Can you describe in what is that helpful? Are we one day going to only listen to robots 
playing music?


 Where *will* the limits be, or where *should* the limits be?


Yes very good question. One thing that comes to mind is that I don't want to 
arrive at a point where musician will be teaching computers to play instead of 
learning to play themselves.




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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

[Marc Mouries]

On 3/17/2011 10:57 AM, David Kastrup wrote:

Marc Mouriesm...@mouries.net  writes:


This is intellectually interesting but the question is not who
deserves to create good music? but rather who wants to listen to
music made by someone that does not practice? and who wants to listen
to music played by a computer? Sure many times, nowadays, the
rendition of a computer playing is quite good but who cares? Art
conveys emotions which are the one thing that make us human and thus
should be played by human.

Uh, you never heard of the concept of an actor or play, I suppose?
Emotions don't need to exist at the sender's side in order to be
conveyed to a receiver.
yep but it's much easier to believe a person acting or playing than a 
robot. If i see a robot or computer playing and it's nice, you will 
think nice programming but i don't think it can bring tears or joy.



And anyway, for most of the music I hear, I am more interested in the
emotions of the composer rather than the performer.

There is hardly something more aggravating than a romanticizing
performer distracting from good Bach, for example.




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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

[Marc Mouries]

On 3/17/2011 11:31 AM, Graham Percival wrote:

Art conveys emotions which are the one thing that make us human

and thus should be played by human.

should be?  Hmm.  Art conveys emotions, and thus sheet music
should be engraved by a human.
You are mixing unrelated things. The analogy is about getting emotion 
from listening or watching the artifact produced. While i find 
electronic engraving useful, people find ancient manual engraving much 
nicer.




  Fiction conveys emotions, and
thus all novels should be hand-written by a human.

Is LilyPond a good thing?  It lets composers produce high-quality
output -- but with a computer.  Does the sheet music lose anything
from automatic algorithmic placement of noteheads?  I don't think
so... in fact, I'd argue that LilyPond produces better output than
99% of humans could create on their own.

Same thing with computer-performed music, although of course right
now the better than 99% of humans is something like Vivi
produces violin music that is better than 1% of humans.  I'm not
claiming that Vivi is the end of the road, nor am I suggesting
that anybody throw away their violin CDs!


As for *good* computer-performed music... it's not my favorite Miku
work, but can you honestly say that you feel no emotion when
watching this?
http://www.youtube.com/watch?v=g1Dqb6uJ8WY
(maybe you _can_ say that you feel nothing, but I can't -- the way
her voice catches on certain notes seems heartbreaking to me)

i just don't like this piece and it's out of tune. One vocaloid 
generated song I enjoy is this: http://www.youtube.com/watch?v=Cm2IQ0y2J0Q

but I much prefer this human version here:
http://www.youtube.com/watch?v=BN4cLlIKnoA




I mean, I get a *totally* different feeling from that work than I
get from this one:
http://www.youtube.com/watch?v=S3YOqUbhOQc

But the audio in both works was computer-generated.

Now, you might accuse me of cheating by giving links to vidoes
(rather than just audio), but I still pick up a different emotion
from each work even without the video.


What's the end goal of such
system? Can you describe in what is that helpful?

It's helpful because it gives content creators (being a generic
term for composers and performers) another tool to create music.

I don't have a string quartet at my disposal.  I have friends who
play string instuments, but I can't have them instantly perform a
composition that I'm working on at 2am.  And if I wanted to record
my friends and release the audio under a permissive license, I'd
need to warn them, get their permission, and then they might want
to practice their parts more (if it's going to be available to
everybody over the internet), etc.

Guess why I don't have audio recordings of my compositions on my
website?

There is a college kid here who is playing in a quartet and started to 
include his own composition in their recital.  You could certainly do 
the same, create your own quartet and play your own composition.




Are we one day going to only listen to robots playing music?

It depends.  What do you *want* to listen to?  Go listen to that!
Nobody's going to legislate that humans are not allowed to play,
record, and listen to themselves!


Where *will* the limits be, or where *should* the limits be?

Yes very good question. One thing that comes to mind is that I
don't want to arrive at a point where musician will be teaching
computers to play instead of learning to play themselves.

Then I guess you don't want to look at the roadmap.  :)
Win the Chopin competition by 2050!
http://renconmusic.org/about.htm
oh i know we will get there and i can appreciate the technological 
achievement and if that will help people to play the piano the better.

It comes down to this:
- new tool for composers.
- if you can notice a difference, and prefer human recordings,
   then go listen to human recordings.
- if you can't notice a difference [say, 10 or 20 years from now],
   then why complain?



I complain because it's more than a matter of taste. The impact is 
bigger than what it seems. It's like people always want to get the 
lowest price and 10 years later, the manufacture and their job is sent 
overseas so they can get the lowest price but now they don't have a job 
to buy anything. In the past you could hire musicians more easily and 
more frequently. Today people throw a party and they will play mp3 they 
copied from somebody else and later will wonder why they can't get a 
career in music.


Anyway, all tastes are in nature and we won't agree. So peace, enjoy the 
music you like and let's come back to making lilypond work.


-Marc


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Re: Creation of a generic pattern

[Marc Mouries]

have you taken a look at this snippet:
http://lsr.dsi.unimi.it/LSR/Item?id=654

-Marc

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Re: Italian translation?

[Marc Mouries]

On 2/20/2011 1:39 PM, Phil Holmes wrote:
In the Gondoliers, the Contadine sing Per voi, bei signori.  
According to Google translate, 'bei' does not exist.  Is there an 
Italian speaker here who can say whether it is Italian, or whether 
Gilbert got it wrong?

No google does not know everything!
bei is the plural of bello. This would translate to for you, handsome 
lords


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Re: Italian translation?

[Marc Mouries]

On 2/21/2011 10:56 AM, Phil Holmes wrote:

- Original Message - From: Marc Mouries m...@mouries.net
To: lilypond-user@gnu.org
Sent: Monday, February 21, 2011 3:53 PM
Subject: Re: Italian translation?



On 2/20/2011 1:39 PM, Phil Holmes wrote:
In the Gondoliers, the Contadine sing Per voi, bei signori.  
According to Google translate, 'bei' does not exist.  Is there an 
Italian speaker here who can say whether it is Italian, or whether 
Gilbert got it wrong?

No google does not know everything!
bei is the plural of bello. This would translate to for you, 
handsome lords




Thanks to everyone.  I presume it's an elision of belli?

no it is when it's placed before a consonant


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Re: exercise notation

[Marc Mouries]

On 1/26/2011 1:08 AM, Patrick Horgan wrote:

On 01/25/2011 12:25 PM, lilyp...@josebreden.nl wrote:

Hello,

Singing in a coral I would like to exercise the different parts 
(soprano, alto, bass).

So I would like to generate from a single .ly-file, multiple midi-files:
- all parts together (which is allready working)
- only soprano part
- only alto part
- only bass part
With a small kind of switch.
Sorry I don't know how to do it with a switch, but I've attached 
something that does something similar, it just does it all at once.  
From one lilypond source, O_Magnum_Mysterium.ly, it generates:


O_Magnum_Mysterium-soprano.pdf
O_Magnum_Mysterium-soprano.midi

O_Magnum_Mysterium-alto.pdf
O_Magnum_Mysterium-alto.midi

O_Magnum_Mysterium-tenor.pdf
O_Magnum_Mysterium-tenor.midi

O_Magnum_Mysterium-bass.pdf
O_Magnum_Mysterium-bass.midi

O_Magnum_Mysterium-choir.pdf
O_Magnum_Mysterium-choir.midi

O_Magnum_Mysterium-piano-reduction.pdf

Maybe it will give you an idea.

Patrick


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not sure if it works with 2.12 but in 2.13.46 the different parts of the 
tagline overlap.



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Re: How to start translate documents without running autoconf.sh

[Marc Mouries]

On 1/25/2011 10:48 AM, Francisco Vila wrote:

2011/1/25 Ben Luoben...@gmail.com:

neuro,

中文 should be great.

Francisco,

Please use 中文 for Chinese in Chinese.

Ok, using 中文 instead of 汉语



There are actually six ways to designate the Chinese language: hànyǔ 汉 
语 (Chinese) Pǔtōnghuà 普通话 (Mandarin, Chinese standard), 中国 话 
zhōngguóhuà, 国语 guóyǔ (Taiwan), 汉族 话 hànzúhuà (language of the Han 
, used by ethnic minorities to denote the Chinese) and Zhongwen 中文 
(all languages of China).


-Marc



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Re: instrumentName in StaffGroup

[Marc Mouries]

On 1/15/2011 4:56 AM, Xavier Scheuer wrote:

On 14 January 2011 20:56, Reinhold Kainhoferreinh...@kainhofer.com  wrote:

To be honest, I don't understand, why the Instrument_name_engraver is not
added to all staff group contexts by default. It is a very simple engraver, so
it would not induce much overhead. And it does not have any side effects. On
the other hand, it happens regularly that you want a staff group to display an
instrument name, too.

I don't see any argument against adding the engraver also to all staff groups.
(I'm already doing that in my orchestrallily package, so I can tell from my
experience that I'm not running into any problem).

 From a user's point of view, if he sets an instrument name, he wants it to be
shown, and if he doesn't set an instrument name, the engraver will not do
anything, anyway.
So, from that POV, the sane thing would be to add it to staff groups, too.

+1 too
Cheers,
Xavier

+1

-Marc

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Re: function looksSlower from LSR produces many warnings

[Marc Mouries]

On 1/12/2011 2:00 AM, Nick Payne wrote:

On 12/01/11 16:08, Marc Mouries wrote:

On Jan 11, 2011, at 6:34 PM, Carl Sorensen wrote:


On 1/11/11 11:30 AM, Marc Mm...@mouries.net  wrote:


As a matter of fact, I get the same warnings without the function but with
\stemUp with the code:
\version 2.13.45
\language english
\score {
  \relative g' {
  { \stemUp g, }
\\ { \stemUp d' }
\\ { \stemUp b' }
\\ { \stemUp g' }
  }
}

Not clear why because the music looks ok.

Because you have four different voices that are all trying to share the same
space.  This means they collide.  In this particular instance, the collision
is not a problem; it's the desired behavior.

it's also not clear why \stemUp is necessary with voices while the stems are
in the right direction when we just print a chord:
\version 2.13.45
\language english
\score {
  \relative g' {
g, d' b' g'4
  }
}

Because the chord is in a single voice, which has a given stem direction.

When you do the parallel music, instead of the chord, you create *four*
voices.  And normally we like to distinguish between voices, so we want the
stems to be different.

This might be true for Choral music where the voice are played by different 
player or singer but that's not the case for Violin.
This is how all editions print Bach's Solo Sonata for Violin.





Please see the Learning Manual, section 3.2.1, for more explanation on this
subject.  You really need to understand this concept to use LilyPond
effectively for complex music.

Thanks for the link but I have read this section of the doc.  I find all of 
this tuning is needed because lilypond does not support writing chords with 
notes of different duration.
If this was supported music complex music like the solo sonatas would be much 
simpler to typeset.
I like lilypond and at the beginning I recommended it to other violinists but they found 
it was too developer oriented. Which, on my side i like the power of function that can be 
applied but I find myself spending more and more (too much) time to adjust lilypond 
layout. This might be because i am typesetting more complex music now but i'd like for 
lilypond to have a more approachable and more intuitive notation. Typesetting music for 
one instrument with different voice is definitely not only a to lay music out nicely but 
also to edit the lilypond code due to the multiple voices required just to enter few 
chords here and there.


If you have a look at the Mutopia Project web site, all the Bach solo 
violin Sonatas and Partitas are there, all set with Lilypond and with 
the ly source files available...


Nick

thanks i just downloaded it and the layout does not look good.
http://www.mutopiaproject.org/ftp/BachJS/BWV1001/bwv-1001_1/bwv-1001_1-let.pdf

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Re: why chords with notes of different duration is not supported?

[Marc Mouries]

On 1/12/2011 4:40 AM, Graham Percival wrote:

On Wed, Jan 12, 2011 at 09:15:41AM +0100, Reinhold Kainhofer wrote:

Am Mittwoch, 12. Januar 2011, um 09:02:19 schrieb Graham Percival:

On Wed, Jan 12, 2011 at 12:04:50AM -0500, Marc Mouries wrote:

i'd like to know about the rationale behind not supporting chords with
notes of different duration.

Because there's no such thing as a chord with notes of different
duration.

But there is a notation for multiple stops that looks like a chord with notes
of different duration.

Before moving to computer science, I was a cello teacher.  And I'm
now playing first violin in an orchestra doing, amongst other
things, Tchaik's Romeo and Juliet.  I also played viola for half
of my music degree.  I'm very familiar with (bowed) string music.
So what's the point of saying Because there's no such thing as a chord 
with notes of different duration ? That does not help the communication.

That's not a chord.  That's multiple voices, and they're simple to
write in lilypond.  Please read the learning manual.

To quote Gardner Read: Chord notation for string instruments often appears
incorrect to the non-string player.

There's a couple of separate issues here:
- what is the precise definition of a chord according to an
   arbitrary violinist?
- what is the precise definition of a chord according to an
   expert in music notation?
- what is the precise definition of a chord according to the
   lilypond manual?
- what is the precise definition of a chord according to the
   lilypond internal code (be it scheme or C++)?



A chord is simply several notes played simultaneously and that 
definition is the same for a violinist, a pianist or a percussion player.





As a violin can only play one note,

two notes, you mean.
yes really simultaneously 2. That's why strings players use the term 
double-stop.  Double-stop usually have the same duration while playing 
a 3 or 4 notes chords can be played in different ways. The 1st 2 strings 
together and then the top 2 together or some other combination. That's 
the part that is left for interpretation.
However it is very frequent that the top note in a chord played by a 
bowed-string instrument is prolonged onto the next sequence. That the 
problem #1 i encountered while typesetting some parts of Beethov 5th 
symphony.
The 2nd problem is that in Baroque music the notes of the chord can be 
written in cascade from top to bottom while later this was no longer 
used but still played in an arpeggiated mode.





Look, if you want to get a violinist chord, you do this:
\new Staff \relative c'' {
   
 { \voiceOne g,4 }
 { \voiceOne d'4 }
 { \voiceOne b'4 }
 { \voiceOne g'2 }
   
}

not hard.

not hard but verbose and not user-friendly.
If the notes are all attached to the same voice why not allowing:  g,4 
d'4 b'4  ?
Of course then to be authentic typesetters will want the ability to 
adjust the layout of the notes in a) a normal chord with all the notes 
aligned vertically or b) the notes in staggered rows.

Just look at the 3 measures of this score produced by lilypond:
http://www.mutopiaproject.org/ftp/BachJS/BWV1001/bwv-1001_1/bwv-1001_1-let.pdf


Wrap it up in a music function to make it easier.

If somebody wants to work on adding such a music function to
lilypond itself, send an email to the frog list, or a patch to the
-devel list.  If somebody wants to talk about the lilypond input
syntax -- such as making the  construct allow different
durations -- then wait until GLISS.

- Graham


It's probably better to continue this discussion until GLISS then.

-Marc



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why chords with notes of different duration is not supported?

[Marc Mouries]

lilyponders,

i'd like to know about the rationale behind not supporting chords with notes of 
different duration.
In the case typesetting violin music it would be much simpler if the notation 
for chord allowed for notes of different duration.
It also applies to other instruments where chords are arpegiated and the top 
notes continue.

thanks,

-Marc
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Re: function looksSlower from LSR produces many warnings

[Marc Mouries]

On Jan 11, 2011, at 6:34 PM, Carl Sorensen wrote:

 On 1/11/11 11:30 AM, Marc M m...@mouries.net wrote:
 
 As a matter of fact, I get the same warnings without the function but with
 \stemUp with the code:
 \version 2.13.45
 \language english
 \score {
  \relative g' {
 { \stemUp g, }
\\ { \stemUp d' }
\\ { \stemUp b' }
\\ { \stemUp g' } 
  }
 }
 
 Not clear why because the music looks ok.
 
 Because you have four different voices that are all trying to share the same
 space.  This means they collide.  In this particular instance, the collision
 is not a problem; it's the desired behavior.
 
 it's also not clear why \stemUp is necessary with voices while the stems are
 in the right direction when we just print a chord:
 \version 2.13.45
 \language english
 \score {
  \relative g' {
g, d' b' g'4
  }
 }
 
 Because the chord is in a single voice, which has a given stem direction.
 
 When you do the parallel music, instead of the chord, you create *four*
 voices.  And normally we like to distinguish between voices, so we want the
 stems to be different.

This might be true for Choral music where the voice are played by different 
player or singer but that's not the case for Violin.
This is how all editions print Bach's Solo Sonata for Violin.
inline: PastedGraphic-1.png

 
 Please see the Learning Manual, section 3.2.1, for more explanation on this
 subject.  You really need to understand this concept to use LilyPond
 effectively for complex music.

Thanks for the link but I have read this section of the doc.  I find all of 
this tuning is needed because lilypond does not support writing chords with 
notes of different duration.
If this was supported music complex music like the solo sonatas would be much 
simpler to typeset.
I like lilypond and at the beginning I recommended it to other violinists but 
they found it was too developer oriented. Which, on my side i like the power of 
function that can be applied but I find myself spending more and more (too 
much) time to adjust lilypond layout. This might be because i am typesetting 
more complex music now but i'd like for lilypond to have a more approachable 
and more intuitive notation. Typesetting music for one instrument with 
different voice is definitely not only a to lay music out nicely but also to 
edit the lilypond code due to the multiple voices required just to enter few 
chords here and there. 



 
 HTH,
 
 Carl
 

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function looksSlower from LSR produces many warnings

[Marc Mouries]

I am using the function looksSlower from the snippet 
http://lsr.dsi.unimi.it/LSR/Item?id=305

and when i use it, it produces many warnings such as:
- warning: stem does not fit in beam
- warning: beam was started here

I tested the snippet and it does not produce those warning because it 
does not use custom beam


This function is very, very handy to learn music written with complex 
rhythm especially in 1/32 and 1/64 notes.


It is going to work with so many custom beams?

The function makes the music look 1 time slower. I was able to make it 
look 2 times slower by changing one of the number but I was wondering if 
is possible to pass the number as an argument?

looksTwoTimesSlower =
#(define-music-function (parser location music) (ly:music?)
  (let ((new-music (ly:music-deep-copy music)))
   (shift-duration-log new-music -2 0)
   new-music))


\version 2.13.45
\language english
\paper {  indent = 0.0 }
\header {
title = Sonata I BWV 1001
piece = 1. Adagio
}


looksOneTimeSlower =
#(define-music-function (parser location music) (ly:music?)
  (let ((new-music (ly:music-deep-copy music)))
   (shift-duration-log new-music -1 0)
   new-music))


melody = \relative g'' {
 {
%{ Main Voice %}
%{ 1 %}  bf, g'4 ~ g'32 [f (ef d c bf a bf64 g ) ] g8 [ fs ] ~ fs32 [ e ( d e fs g a c64 bf )]
%{ 2 %}  c8 ~ [ c32 d64 ( c bf32 c ] c16. \trill [ bf64 c d16 a )] g'8 r32 g,32 ( [ a64 bf c d ] ef8 ) [ bf ]
}
 \\  { %{ Voice 2 %}
%{ 1 %}  g, d'8  s8 s4 a  s4
%{ 2 %}  d8 s8 s4 g,8 s8 r8 g'8
}
 \\ { %{ Voice 3 %}
%{ 1 %}  s4 s4 c4 s4
%{ 2 %}  fs4 s4 d, bf'8 s4.
}
 
}
\score {
	\context Staff { 
		\clef treble
		\key d \minor
		\time 4/4
		\melody
		\looksOneTimeSlower \melody
}
	\layout { }
}
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Re: how to write a scheme function to override glissando properties

[Marc Mouries]

This slide function is great. I always have to tweak the glissando 
command because it is always too small.




On 12/19/2010 3:26 PM, jakob lund wrote:

I

2010/12/19 Marc Hohlm...@hohlart.de:

Am 16.12.2010 17:04, schrieb Patrick Schmidt:

[...]
Hi Marc,

thanks for your solution but I'm still trying to find out what's wrong
with the scheme function I posted. I discussed the need for this function
with Carl and he gave me some advice:
http://www.mail-archive.com/lilypond-devel@gnu.org/msg32745.html.

It might be impossible to find a general set of values for staves and tab
staves. If I don't succeed I learned something about writing scheme
functions, at least. Maybe you can spot the mistake in the function?

Hm, I don't know what's wrong - I tried something like

slide =
#(define-music-function (parser location len thick beg end) (number? number?
ly:music? ly:music?)
  #{
 \once \override Glissando #'minimum-length = $len
 \once \override Glissando #'thickness = $thick
 \once \override Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods
  $beg \glissando $end
  #})


myMusic = \relative c' {
  \slide #10 #5 a4 b4\3
}

\score {

  \new Staff {
   \new Voice {
 \clef treble_8
 \myMusic
   }
  }
  \new TabStaff {
   \new TabVoice {
 \myMusic
   }
  }
}

and that doesn't work either. I don't understand why ...


I think what happens is that the start note, passed to your function,
is already wrapped up in an object. \glissando is meant for use with a
single note, rather than with a music object.

You can use scheme to add the `start glissando' property to the object though:

\version 2.13.40

slide = #(define-music-function (parser location length startnote)
(number? ly:music?)
#{
  \once\override Voice.Glissando #'minimum-length = $length
  \once\override Voice.Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods
  #(begin
(set! (ly:music-property $startnote 'elements)
  (cons (make-music (quote GlissandoEvent))
(ly:music-property $startnote 'elements)
))
   (ly:export $startnote))
#})

{ \slide #7 a'' e'' }

this page contains a similar example
http://lilypond.org/doc/v2.13/Documentation/extending/adding-articulation-to-notes-_0028example_0029

Jakob

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fretboard with fingers on the same string / scale

[Marc Mouries]

  
  
Lilyponders,

I might be pushing the fretboard to its limit but i just found a
very useful use after a discussion with my Violin teacher and I'd
like to know if it's possible to print fingers dot on the same
strings.

It can also be used to print scales like the following on guitar:


I tried the following but that did not product the expected outcome:
violinTuning = #'(16 9 2 -5)

patternA = g d' bf' g'' 
patternB =  g\4 d'\3 bf'\2 g'\1 bf'\1

\storePredefinedDiagram #default-fret-table \patternA
 #violinTuning
 #"o;o;1-1;3-2;"

\storePredefinedDiagram #default-fret-table \patternB
 #violinTuning
 #"4-o-o;3-o-o;2-1-1;1-2-3;1-6-4;"


The patternB adds a B flat on the E string (6th) with the 4th
finger.



-Marc

  

\version 2.13.18
\language english
#(set-global-staff-size 26)

\header{
	title = Patterns Bach Presto
	composer = 
	tagline = 
}

violinTuning = #'(16 9 2 -5)

patternA= g   d' bf' g'' 
patternB=  g\4  d'\3  bf'\2  g'\1 bf'\1

\storePredefinedDiagram #default-fret-table \patternA
#violinTuning
#o;o;1-1;3-2;

\storePredefinedDiagram #default-fret-table \patternB
#violinTuning
#4-o-o;3-o-o;2-1-1;1-2-3;1-6-4;
		

patterns = {
  \patternA   s8  \patternB
}
		
\score {
  
\new FretBoards {
  \set stringTunings = #violinTuning
  \override FretBoard #'(fret-diagram-details string-count) = #'4
  \override FretBoard #'(fret-diagram-details finger-code) = #'in-dot
	  \override FretBoard #'(fret-diagram-details orientation) = #'landscape
  \patterns
}
\new Staff {
	  \relative g'' {
\clef treble
\time 3/8
\key d \minor
\repeat volta 2 { %begin 1st section
	  	  %{#  1 %} g16  [ bf  g   d   g   d  ]
	  	  %{#  2 %}	bf16 [ d   bf  g   bf  g  ]	
}
  }
}
  
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Re: pb with 2.13 with doc example fret diagram

[Marc Mouries]

On 12/22/2010 9:10 AM, Carl Sorensen wrote:



On 12/22/10 12:12 AM, Marc Hohlm...@hohlart.de  wrote:


Am 22.12.2010 03:43, schrieb Carl Sorensen:

On 12/21/10 7:26 PM, Marc Mouriesm...@mouries.net  wrote:



On Dec 21, 2010, at 1:28 PM, Carl Sorensen wrote:

Well, it's supposed to be the number of semitones above middle C for
each
open string, starting with the highest string.


Wow, that's really not self-explanatory but i get why it's needed.
However
I'll have one less argument when my friend tell me that Lilypond is too
complicated.
Why not allow people to define tuning with notes, like:

violinTuning = #'(e' a d g)
guitarTuning= #'(e b g d a e,,)

Well, the short (and dumb) answer is because the notes e' a d g etc. are
lilypond input music expressions, and the string tuning needs to be a
Scheme
list.

The next longer answer is probably because nobody ever thought of it.

Not quite ;-)

http://lilypond-s-support-for-tablatures.3383434.n2.nabble.com/TAB-guide-tp581
3587p5818252.html

Oops, sorry.  I missed that in the overall flow of things


The final answer is that it will be quite easy to to create a music
function
that creates a string tuning object. How would this syntax be?

\makeStringTuning #'violinTuning {e' a d g}

If this sounds good, I'll have it done in the next day or so.

Sounds very promising indeed! As Patrick mentioned in his tablature test
file,
a tablature key (i.e. string labels indicating the pitch) would be a
useful enhancement.

I didn't dig very deep, but how complicated would it be to allow note
names for
string tunings?

Note names for string tunings would be very difficult, as far as I can see.
LilyPond uses note names only in its input layer; they're not used at all
internally.

Pitches for string tunings, on the other hand, would be relatively
straightforward to implement.  And they would be unambiguous in terms of
determining a tab key.

Thanks,

Carl

As a matter of fact, I would suggest to make it even simpler.  Use 
whatever internal notation is easier to implement and provide a list of 
tuning like the languages.

Something like:

\tuning = violin
or
\include instrument-tunings

One of those command include a file containing the tunings for guitar, 
violin, mandolin (same as violin), ukulele, bass, ...


\storePredefinedDiagram \dMajor
#violinTuning
#o;o;o;3-3;

-Marc M



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Re: fretboard diagram : removing the fret number on the side

[Marc Mouries]

On 12/21/2010 10:51 AM, Carl Sorensen wrote:

On 12/21/10 12:51 AM, David Kastrupd...@gnu.org  wrote:


Carl Sorensenc_soren...@byu.edu  writes:


On 12/20/10 8:57 PM, Marc Mouriesm...@mouries.net  wrote:



  The fret diagram prints a fret number indication on the right that is
confusing from a Violinist perspective.
  Is there any option for the fret diagram not to print it?

Unfortunately, right now there is no way to change it.


  For instance, in the 2nd D chord i'd like to get rid of the iv or
print i
because on the Violin it is more helpful to think in terms of position than
fret as there is none.

So do you want fret indications in your violin fret diagrams?

And how is the position calculated?

You can't really calculate it all too well.  In first position, the
pinky is in the current scale a fifth above the empty string.  In half
position, it is a diminuished fifth, while the index finger is a half
step above the empty string (if the index finger is a half step above
the empty string, but the pinky is still a full fifth, it is not half
position since you can still sound the next empty string).

In third position, the index finger is a fourth above the empty
string.  Basically, the position more or less concerns the relation
between the current scale and the hand position and fingering and is a
somewhat fuzzy concept when the number of accidentals rises.

There is a fingering chart that shows first and third position fingerings
here:

http://www.violinonline.com/fingerboard_chart.htm

If this chart is to be believed, first position spans from the first fret
to the seventh fret.  Third position spans from the fifth fret to the
tenth fret.

There is also an advanced fingering chart here:

http://www.violinonline.com/fingeringchart-advanced.htm

It shows 1st through 7th positions.  According to this chart, first position
has the first finger on the 1st or 2nd fret, second position has the first
finger on the 3rd or 4th fret, third position has the first finger on the
5th fret, fourth position has the first finger on the 7th fret, fifth
position has the first finger on the 8th or 9th fret, sixth position has the
first finger on the 10th fret, and 7th position has the first finger on the
12th fret.

If this is correct, we could calculate the position given the number of the
fret for the first finger.  And we would just need to add a fretboard
property describing the fret-label scheme.  Then we could display a position
number.

Thanks,

Carl

yep that's it.
The difference between Guitar and Violin is that the number I, II, III  
indicate a fret on the guitar while on the violin it usually indicates 
the position of the first finger. If you play a a on the e string 
with the 3rd finger, you are in 1st position, if you play it with your 
2nd finger you are in 2nd, with your 1st finger you are in 3rd, ... So 
to compute the position number the position of the 1st finger has to be 
located.


0  IIIIII   IV  VVIVIIPOSITION
0  1  2  3  4  5  6  7  8  9 10 11 12 FRET #
e| f  #  g  #  a  #  b  c  #  d  #  e
A| #  b  c  #  d  #  e  f  #  g  #  a
D| #  e  f  #  g  #  a  #  b  c  #  d
G| #  a  #  b  c  #  d  #  e  f  #  g
0  1  2  3  4  5  6  7  8  9 10 11 12 FRET #
0 III III   IV V VIVIIPOSITION

Nt  f#  Pos
G   0   0/I
#   1   1
a   2   1
#   3   2
b   4   2
c   5   3
#   6   4
d   7   4
#   8   5
e   9   5
f  10   6
#  11   6
g  12   7


A standard D chord in 1st position is played:
d'  a'  fs''2 ^\markup \fret-diagram #w:4;4-x;3-o;2-o;1-2-1;

position # = 1 because 1st finger is on the f# on the e string. f# on 
fret #2


Another D chord in 1st position is played:
d'  fs' d'' 2 ^\markup \fret-diagram #w:4;4-7-4;3-4-2;2-5-3;1-x;

position # = 1 because, the 1st finger is not used but the 2nd finger is 
on a F#, fret# 2 on the D string


A C major chord
g'  e'  c''2 ^\markup \fret-diagram #w:4;4-x;3-5-1;2-7-2;1-8-3;
position = 3 because first finger is on the G on the fret #5

--Marc



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Re: fretboard diagram : alignment issue

[Marc Mouries]

On 12/21/2010 12:30 AM, Carl Sorensen wrote:



On 12/20/10 8:47 PM, Marc Mouriesm...@mouries.net  wrote:


Hi Lilyponders,

I am trying to generate a chord chart for Violin and i have an alignment
problem.

I want to include the different possibilities of playing a chord and
thus i can't use the command storePredefinedDiagram and thus can't use a
FretBoard like this

\score {

  \new ChordNames { ...}
  \new Staff { ... }
  \new FretBoards { }
}

Actually, you *can* use storePredefinedDiagram.

The syntax is slightly different from 2.12 and 2.13

But since your chords have different names, you'll just do something like
(2.12 syntax):

\storePredefinedDiagramd' a' fs''
  #violin-tuning
 #x;o;o;2-1;
\storePredefinedDiagramd' fs' d''
  #violin-tuning
 #7-4;4-2;5-3;x;
\storePredefinedDiagramd' c'' fs''
  #violin-tuning
  #x;o;3-2;2-1;


   \new ChordNames { \chordmode {d1 d1:7}}
   \new Staff {d' a' fs''2d' fs' d''2d' c'' fs''1 }
   \new FretBoards {d' a' fs''2d' fs' d''2d' c'' fs''1 }




You don't need to use a chordmode definition for the key to the fretboard;
you just need to have some kind of music that will be the same.


HTH,

Carl

P.S. In 2.14.43 we have alternate fretboard tables, so you can change the
table and have different fretboards for the same chord.  But I don't think
that would help you here, because you have chords in the staff that wouldn't
work with the ChordNames

I am using 2.13.43-1 
http://download.linuxaudio.org/lilypond/binaries/mingw/lilypond-2.13.43-1.mingw.exe 
and i get an error with your code.


/pb with chords on the Violin.ly:16:24: error: syntax error, unexpected 
\storePredefinedDiagram
d' a' fs''

Where can i find the doc for 2.13 for the fret diagram?
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pb with 2.13 with doc example fret diagram

[Marc Mouries]

  
  
I just tested the example "Defining predefined fretboards for other
instruments" with 2.13 and it produces a bizarre output.

http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Fretted-strings


  

\paper {
  #(define dump-extents #t)
  
  indent = 0\mm
  line-width = 160\mm
  force-assignment = #
  line-width = #(- line-width (* mm  3.00))
}

\layout {
  
}
#(set-global-staff-size 16)

cuatroTuning = #'(11 18 14 9)

dSix = { a\4 b\1 d\3 fis\2 }
dMajor = { a\4 d\1 d\3 fis \2 }
aMajSeven = { a\4 cis\1 e\3 g\2 }
dMajSeven = { a\4 c\1 d\3 fis\2 }
gMajor = { b\4 b\1 d\3 g\2 }

\storePredefinedDiagram \dSix
#cuatroTuning
#o;o;o;o;
\storePredefinedDiagram \dMajor
#cuatroTuning
#o;o;o;3-3;
\storePredefinedDiagram \aMajSeven
#cuatroTuning
#o;2-2;1-1;2-3;
\storePredefinedDiagram \dMajSeven
#cuatroTuning
#o;o;o;1-1;
\storePredefinedDiagram \gMajor
#cuatroTuning
#2-2;o;1-1;o;

% end of potential include file /predefined-cuatro-fretboards.ly




primerosNames = \chordmode {
  d:6 d a:maj7 d:maj7 
  g
}
primeros = {
  \dSix \dMajor \aMajSeven \dMajSeven
  \gMajor
}

\score {
  
\new ChordNames {
  \set chordChanges = ##t
  \primerosNames
}

\new Staff {
  \new Voice \with {
\remove New_fingering_engraver
  } 
  \relative c'' {
\primeros
  }
}

\new FretBoards {
  \set stringTunings = #cuatroTuning
  \override FretBoard
#'(fret-diagram-details string-count) = #'4
  \override FretBoard
#'(fret-diagram-details finger-code) = #'in-dot
  \primeros
}

\new TabStaff \relative c'' {
  \set TabStaff.stringTunings = #cuatroTuning
  \primeros
}

  

  \layout { 
\context {
  \Score
  \override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
}
  }
  \midi { }
}
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Re: pb with 2.13 with doc example fret diagram

[Marc Mouries]

On 12/21/2010 12:09 PM, Carl Sorensen wrote:

On 12/21/10 9:44 AM, Marc Mouriesm...@mouries.net  wrote:


I just tested the example Defining predefined fretboards for other
instruments with 2.13 and it produces a bizarre output.

http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Fretted-strings




This is a 2.12 snippet, and will not compile properly on 2.13 due to the
syntax changes.

Please use the 2.13 equivalent snippet:

http://lilypond.org/doc/v2.13/Documentation/snippets/fretted-strings

HTH,

Carl


thanks for the link. I adapted the snippet for Violin and it seems the 
TAB staff is not in sync with the Fret board.
The tab shows a finger on the 5th fret while the fretboard setting is an 
empty string #x;o;o;2-1;



\version 2.13.43
%   0 1 2 3 4 5 6 7 8 9 10 11 12
%   C   D   E F   G   A B  C
violinTuning = #'(7 2 9 4)

dMajorOne = {d\3   a'\2  fis'\1  }
dMajorTwo = {  d\4   fis\3 d'\2  }
gMajor= {  g,\4  d'\3  b'\2  g'\1}

\storePredefinedDiagram #default-fret-table \dMajorOne
#violinTuning
#x;o;o;2-1;
\storePredefinedDiagram #default-fret-table \dMajorTwo
#violinTuning
#7-4;4-2;5-3;x;
\storePredefinedDiagram #default-fret-table \gMajor
#violinTuning
#o;o;2-1;3-2;

#(set-global-staff-size 16)

primerosNames = \chordmode {
  d 
  d
  g
}
primeros = {
  \dMajorOne   \dMajorTwo
  \gMajor
}

\score {
  
\new ChordNames {
  \set chordChanges = ##t
  \primerosNames
}
\new FretBoards {
  \set stringTunings = #violinTuning
  \override FretBoard #'(fret-diagram-details string-count) = #'4
  \override FretBoard #'(fret-diagram-details finger-code) = #'in-dot
  \primeros
}
\new Staff {
  \new Voice \with {
\remove New_fingering_engraver
  }
  \relative c' {
\primeros
  }
}
\new TabStaff \relative c'' {
  \set TabStaff.stringTunings = #violinTuning
  \primeros
}

  

  \layout {
\context {
  \Score
  \override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
}
  }
  \midi { }
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Re: pb with 2.13 with doc example fret diagram

[Marc Mouries]

On Dec 21, 2010, at 1:28 PM, Carl Sorensen wrote:
 
 Well, it's supposed to be the number of semitones above middle C for each
 open string, starting with the highest string.
 

Wow, that's really not self-explanatory but i get why it's needed. However I'll 
have one less argument when my friend tell me that Lilypond is too complicated.
Why not allow people to define tuning with notes, like: 

violinTuning = #'(e' a d g)
guitarTuning= #'(e b g d a e,,)

and then have an internal function would compute the distance to from and to 
the middle C?



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Re: ways of using Lilypond?

[Marc Mouries]

On 12/20/2010 8:54 AM, Ludo Beckers wrote:
On Sun, Dec 19, 2010 at 9:22 PM, Marc Mouries m...@mouries.net 
mailto:m...@mouries.net wrote:


On Dec 18, 2010, at 5:19 PM, Ludo Beckers wrote:

 Just wondering, has there ever been a poll about how many
Lilypond users work with a certain specific tool.
 Is the majority in this group using denemo, frescobaldi,
lilypondtool or other tools?


I am on Mac and built my own editor LilyEditor very simple with
syntax highlighting and just one button to invoke lilypond and
update the pdf view.

That's probably beyond my present capabilities, but could you explain 
briefly how you achieved a customization like that?


It's not customization, I followed an Objective-C tutorial and built it 
from scratch.
FYI, I have not released it in the open because I used lex for the 
syntax highlighting and it does not support accents.







On PC, i switch between notepad++ and the ecipse plugin Elysium.

Elysium is also on my list to check out, having touched the surface of 
Eclipse (with the Karel program, probably the simplest in the world ;-))


Elysium is good but i miss the ability to just right click and ask to 
open a specific file that is not already in the workspace.

It's and Eclipse limitation.



Ludo





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fretboard diagram : alignment issue

[Marc Mouries]

Hi Lilyponders,

I am trying to generate a chord chart for Violin and i have an alignment 
problem.


I want to include the different possibilities of playing a chord and 
thus i can't use the command storePredefinedDiagram and thus can't use a 
FretBoard like this


\score {
  
\new ChordNames { ...}
\new Staff { ... }
\new FretBoards { }
  
}

But i have to use


  \new ChordNames { \chordmode { d1 } }
  \new Staff {
%% D
d'  a'  fs''2 ^\markup \fret-diagram #w:4;4-x;3-o;2-o;1-2-1;
d'  fs' d'' 2 ^\markup \fret-diagram #w:4;4-7-4;3-4-2;2-5-3;1-x;
%% D7
d'  c'' fs''1 ^\markup \fret-diagram #w:4;4-x;3-o;2-3-2;1-2-1;
}


Which gives me:

Is there any way to align the fret board using markup? or any other work-around 
to be able to use a fretboard and use several definitions for one chord?

thanks,

Marc

Based on this snippet: http://lsr.dsi.unimi.it/LSR/Item?id=578


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fretboard diagram : removing the fret number on the side

[Marc Mouries]

  
  

The fret diagram prints a fret number indication on the right that
is confusing from a Violinist perspective.
Is there any option for the fret diagram not to print it?

For instance, in the 2nd D chord i'd like to get rid of the "iv" or
print "i" because on the Violin it is more helpful to think in terms
of position than fret as there is none.




I checked
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Instrument-Specific-Markup#Instrument-Specific-Markup
but did not find any option to remove the fret number.
  

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Re: ChordName Font [was: lilypond cameo]

[Marc Mouries]

wow the font is really nice for song books. I also discovered the 
Gonville fonts and it would be great if those fonts be included into 
lilypond out of the box and the selection of font made simpler.



On 12/14/2010 7:15 AM, Valentin Villenave wrote:

On Tue, Dec 14, 2010 at 11:58 AM, M Wattszwy648...@gmail.com  wrote:

Or you could try
\override ChordName #'font-name = #'Exact Font Name
to use any font on your system.

BTW: A French guy has made a special font for jazz-like chord names:
http://sites.google.com/site/jpgzic

Thought I'd share it with you guys :)

Cheers,
Valentin.

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text inside the staff close to the notes

[Marc Mouries]

  
  
I am wondering if it is possible to write text inside the staff
close to the notes or without the notes like in the attached image
to show the name of the notes.



-Marc

  

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Re: text inside the staff close to the notes

[Marc Mouries]

  
  
On 12/13/2010 5:54 PM, m...@apollinemike.com wrote:

  Yup!

\version "2.13.43"

\relative c'' {
\override Stem #'transparent = ##t
\override NoteHead  #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { A }
a
\once \override NoteHead #'text = \markup { B }
b
}

You'll have to do a fair bit of tweaking to get the right size and placement...

Cheers,
Mike

On Dec 13, 2010, at 5:36 PM, Marc Mouries wrote:


  
I am wondering if it is possible to write text inside the staff close to the notes or without the notes like in the attached image to show the name of the notes.

Mail Attachment.bmp

-Marc

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thanks Mike that's helpful. This is really bizarre that making the
stem transparent moves the name of the note up.
This code 
\score {
 \relative c'' {
 \time 7/2
 \easyHeadsOn
 \override Stem #'transparent = ##t
 \override NoteHead #'stencil = #ly:text-interface::print
 \once \override NoteHead #'text = \markup { {A}}  a
 \once \override NoteHead #'text = \markup { {B}}  b
 \once \override NoteHead #'text = \markup { {C}}  c
 \once \override NoteHead #'text = \markup { {D}}  d
 \once \override NoteHead #'text = \markup { {E}}  e
 \once \override NoteHead #'text = \markup { {F}}  f
 \once \override NoteHead #'text = \markup { {G}}  g
 \once \override NoteHead #'text = \markup { {A}}  a
 }
}
gave me:




  

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Re: text inside the staff close to the notes

[Marc Mouries]

  
  
thanks, I added whiteout and adjusted the lower and the fontsize and
got something nice except the last A. :



On 12/13/2010 9:25 PM, Mike Solomon wrote:

  Kinda meh, but gets the job done.
  Creating a music function would automate this sorta thing.
  
  
  \score {
  \relative c'' {
   \time 7/2
   %\easyHeadsOn
   \override Stem #'transparent = ##t
   \override NoteHead #'stencil = #ly:text-interface::print
   \once \override NoteHead #'text = \markup { \lower #0.5
\fontsize #-3.5 A}   a
   \once \override NoteHead #'text = \markup { \lower #0.5
\fontsize #-3.5 B}   b
   \once \override NoteHead #'text = \markup { \lower #0.5
\fontsize #-3.5 C}   c
   \once \override NoteHead #'text = \markup { \lower #0.5
\fontsize #-3.5 D}   d
   \once \override NoteHead #'text = \markup { \lower #0.5
\fontsize #-3.5 E}   e
   \once \override NoteHead #'text = \markup { \lower #0.5
\fontsize #-3.5 F}   f
   \once \override NoteHead #'text = \markup { \lower #0.5
\fontsize #-3.5 G}   g
   \once \override NoteHead #'text = \markup { \lower #0.5
\fontsize #-3.5 A}   a
  }}
  
  
  
On Dec 13, 2010, at 9:10 PM, Marc Mouries wrote:


   On 12/13/2010 5:54 PM,
m...@apollinemike.com
wrote:

  Yup!

\version "2.13.43"

\relative c'' {
\override Stem #'transparent = ##t
\override NoteHead  #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { A }
a
\once \override NoteHead #'text = \markup { B }
b
}

You'll have to do a fair bit of tweaking to get the right size and placement...

Cheers,
Mike

On Dec 13, 2010, at 5:36 PM, Marc Mouries wrote:


  
I am wondering if it is possible to write text inside the staff close to the notes or without the notes like in the attached image to show the name of the notes.

Mail Attachment.bmp

-Marc

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thanks Mike that's helpful. This is really bizarre that
making the stem transparent moves the name of the note up.
This code 
\score {
 \relative c'' {
 \time 7/2
 \easyHeadsOn
 \override Stem #'transparent = ##t
 \override NoteHead #'stencil =
#ly:text-interface::print
 \once \override NoteHead #'text = \markup { {A}}  a
 \once \override NoteHead #'text = \markup { {B}}  b
 \once \override NoteHead #'text = \markup { {C}}  c
 \once \override NoteHead #'text = \markup { {D}}  d
 \once \override NoteHead #'text = \markup { {E}}  e
 \once \override NoteHead #'text = \markup { {F}}  f
 \once \override NoteHead #'text = \markup { {G}}  g
 \once \override NoteHead #'text = \markup { {A}}  a
 }
}
gave me:

Capture.PNG


  
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\version 2.13.40
\language english
#(set-global-staff-size 36)

\score {
  \relative c'' {
\override Stem #'transparent = ##t
\override NoteHead  #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { \whiteout \lower #0.3 \fontsize #-8  A} a
\once \override NoteHead #'text = \markup { \whiteout \lower #0.3 \fontsize #-8  B} b
\once \override NoteHead #'text = \markup { \whiteout \lower #0.3 \fontsize #-8  C} c
\once \override NoteHead #'text = \markup { \whiteout \lower #0.3 \fontsize #-8  D} d
\once \override NoteHead #'text = \markup { \whiteout \lower #0.3 \fontsize #-8  E} e
\once \override NoteHead #'text = \markup { \whiteout \lower #0.3 \fontsize #-8  F} f
\once \override NoteHead #'text = \markup { \whiteout \lower #0.3 \fontsize #-8  G} g
\once \override NoteHead #'text = \markup { \whiteout \lower #0.3 \fontsize #-8  A} a
  }
  \layout {
ragged-right = ##t
\context {
  \Staff
  \remove Time_signature_engraver
  \remove Bar_engraver
}
  }
}
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Re: text inside the staff close to the notes

[Marc Mouries]

On Dec 13, 2010, at 11:33 PM, Carl Sorensen wrote:

 Make your leger lines transparent and the final A should look great.
 

i am not sure i am following because if the ledger line is transparent it 
defeats the purpose to show that the A is now on a line.
What is bizarre is that the ledger line is thicker than the normal lines in the 
staff.

Apparently this can be fixed but is this normal ?

inline: PastedGraphic-1.png


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Re: musescore

[Marc Mouries]

it's explained here: http://screenr.com/3L0

On Dec 10, 2010, at 3:32 AM, Phil Burfitt wrote:

 From: Marc Mouries m...@mouries.net
 
 I like however the page that allows to sync scores with youtube videos.
 Check it out it's really nice. http://musescore.com/node/855
 
 
 -- Marc
 
 
 Any idea how they do that ?
 
 Phil.
 
 
 
 
 
 
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Re: Odd output

[Marc Mouries]

You get 2 stems because you created 2 voices with the signs  and \\
see 
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Multiple-voices.html

What are you trying to compose?

 
On Dec 9, 2010, at 7:35 PM, Marco Correia wrote:

 Hi,
 
 I just started using lilypond, so it is very possible that I'm making some 
 mistake.
 
 When compiling this example:
 
 \include english.ly
 {
 \clef treble
 \time 4/4
 
 { fs'4 } 
 \\ 
 { f'4 } 
 
 }
 
 I see two notes on fs (occupying the same position but with stems up and 
 down). There is no indication that f is there.
 
 Is this supposed to/ how do I fix it? 
 
 Thanks!
 Marco
 
 -- 
 Marco Correia m...@netcabo.pt
 
 -- 
 --
 Marco Correia
 
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Re: musescore

[Marc Mouries]

i just tried it and it took me forever to enter 5 notes and add text about the 
notes.
However, looking at the lilypond file generated from MuseScore, this reminded 
me how big the size of the lilypond file is compared to the number of notes.
%=
%   created by MuseScore Version: 0.9.6.3
%  December 9, 2010
%=

\version 2.12.0



#(set-default-paper-size a4)

\paper {
  line-width= 190\mm
  left-margin   = 10\mm
  top-margin= 10\mm
  bottom-margin = 20\mm
  %%indent = 0 \mm 
  %%set to ##t if your score is less than one page: 
  ragged-last-bottom = ##t 
  ragged-bottom = ##f  
  %% in orchestral scores you probably want the two bold slashes 
  %% separating the systems: so uncomment the following line: 
  %% system-separator-markup = \slashSeparator 
  }

\header {
title = Test-Score
}

APnovoiceAA = \relative c'{
\set Staff.instrumentName = #Piano
\set Staff.shortInstrumentName = #Pno.
\clef treble
%staffkeysig
\key c \major 
c4 ^\markup {\upright  C} d ^\markup {\upright  D} e ^\markup {\upright  E} f ^\markup {\upright  F}  | % 1
r1  | % 2
r  | % 3
r  | % 4
r \bar |.\bar |. 
}% end of last bar in partorvoice

 

AvoiceBA = \relative c{
\set Staff.instrumentName = #
\set Staff.shortInstrumentName = #
\clef bass
%staffkeysig
\key c \major 
r1  | % 1
r  | % 2
r  | % 3
r  | % 4
r \bar |.\bar |. 
}% end of last bar in partorvoice


\score { 
 
\context PianoStaff 
\set PianoStaff.instrumentName=Piano 
\context Staff = APnopartA  
\context Voice = APnovoiceAA \APnovoiceAA
\set Staff.instrumentName = #
\set Staff.shortInstrumentName = #



\context Staff = ApartB  
\context Voice = AvoiceBA \AvoiceBA
\set Staff.instrumentName = #
\set Staff.shortInstrumentName = #



 %end of PianoStaffA


  \set Score.skipBars = ##t
  %%\set Score.melismaBusyProperties = #'()
  \override Score.BarNumber #'break-visibility = #end-of-line-invisible %%every bar is numbered.!!!
  %% remove previous line to get barnumbers only at beginning of system.
   #(set-accidental-style 'modern-cautionary)
  \set Score.markFormatter = #format-mark-box-letters %%boxed rehearsal-marks
   \override Score.TimeSignature #'style = #'() %%makes timesigs always numerical
  %% remove previous line to get cut-time/alla breve or common time 
  \set Score.pedalSustainStyle = #'mixed 
   %% make spanners comprise the note it end on, so that there is no doubt that this note is included.
   \override Score.TrillSpanner #'(bound-details right padding) = #-2
  \override Score.TextSpanner #'(bound-details right padding) = #-1
  %% Lilypond's normal textspanners are too weak:  
  \override Score.TextSpanner #'dash-period = #1
  \override Score.TextSpanner #'dash-fraction = #0.5
  %% lilypond chordname font, like mscore jazzfont, is both far too big and extremely ugly (olagu...@start.no):
  \override Score.ChordName #'font-family = #'roman 
  \override Score.ChordName #'font-size =#0 
  %% In my experience the normal thing in printed scores is maj7 and not the triangle. (olagunde):
  \set Score.majorSevenSymbol = \markup {maj7}
  

  %% Boosey and Hawkes, and Peters, have barlines spanning all staff-groups in a score,
  %% Eulenburg and Philharmonia, like Lilypond, have no barlines between staffgroups.
  %% If you want the Eulenburg/Lilypond style, comment out the following line:
  \layout {\context {\Score \consists Span_bar_engraver}}
}%% end of score-block 

#(set-global-staff-size 20)


I like however the page that allows to sync scores with youtube videos.
Check it out it's really nice. http://musescore.com/node/855


-- Marc

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Re: Lyx 2.0 Beta 1, LilyPond OS X, MacTeX etc. - got it to work with different gs

[Marc Mouries]

Talking about Ghostscript, I noticed that the latest version is GPL Ghostscript 
9.00 released 2010-09-17
Wouldn't it make sense to update it in the lilypond distribution to benefit 
from the updates and ease the integration with other authoring software like 
LyX?


On Dec 6, 2010, at 10:16 PM, Henry Flurry wrote:

 The lilypond 2.1.13.41-1 version of gs was crashing in LyX.  I was able to 
 get this version of gs working in a shell by setting specific environment 
 variables, but I could not find a way to set these variables for LyX, so I 
 could not get instant preview (or DVI output) of lilypond scores within LyX.
 
 I was able to work around this by putting the lilypond bin path at the END of 
 the path variable set in LyX - Preferences.  Then, LyX would pick up a 
 different version of gs that didn't crash.
 
 Now it works fine.
 
 Again, I reported the bug to lilypond developers, and hopefully in a later 
 version it will be addressed.
 
 Thanks!
 
 Henry Flurry
 Music Flash Class - a music flash card app for iPhone/iPod Touch versatile 
 enough for your teaching
 www.MusicFlashClass.com
 
 
 On Dec 4, 2010, at 10:29 PM, Henry Flurry wrote:
 
 Further research shows that gs is not finding a dynamic library.  Console 
 reports:
 
  dyld: Library not loaded: ./bin/../sobin/libgs.8.70.dylib
 
 I tried to soft link from lib (which contains the dyld) to sobin, but that 
 still didn't work.  gs also failed from command line.
 
 However, if I did this in bash:
 
 export 
 DYLD_LIBRARY_PATH=/Applications/_AudioMusicRelated/LilyPond.app/Contents/Resources/lib:$DYLD_LIBRARY_PATH
  
 Then the gs would work from the commmand line.
 
 But I can't find a way to tell LyX to set up the DYLD_LIBRAY_PATH for 
 calling gs.
 
 I'm assuming that this is a bug in lilypond distribution, so I submitted a 
 bug to them.
 
 Other ideas?
 
 Thanks!
 henry
 
 
 On Dec 4, 2010, at 9:53 AM, Henry Flurry wrote:
 
 OK - got a bit further!
 
 Changing the path variable didn't do it.  Reviewing old emails again, I see 
 that the PATH variable can be set in the shell OR in the Lyx - Preferences 
 - Paths - PATH Prefix
 
 THEN, you need to do:
 
 Lyx - Reconfigure
 
 (This was a step I was missing for a while.)
 
 NOW, the lilypond example loads up without complaint.
 
 BUT, I get an Apple app crash panel with the following error:
 
 gs cannot be opened because of a problem
 
 with some problem details looking like:
 
 Process: gs [6477] 
 Path: 
 /Applications/_AudioMusicRelated/LilyPond.app/Contents/Resources/bin/gs 
 Identifier: gs Version: ??? (???) 
 Code Type: X86 (Native) 
 Parent Process: dvipng [6476] 
 Date/Time: 2010-12-04 09:35:21.031 -0700 
 OS Version: Mac OS X 10.6.5 (10H574) 
 Report Version: 6 Anonymous 
 UUID: 219AD32B-CD4E-46DE-A36B-439CEBBA839D  
 Exception Type: EXC_BREAKPOINT (SIGTRAP) 
 Exception Codes: 0x0002, 0x Crashed Thread: 
  0 
 
 Which to me suggests the problem is occurring when generating an png file.
 
 This type of crash will come up when I:
 
 View - DVI
 View - HTML
 View - OpenDocument
 
 However, the following work fine:
 
 View - PDF
 
 Now it sounds like there is a problem with lilypond's gs itself.
 
 Would you agree?
 
 (I just upgraded lilypond OS X to 2.13.41-1, and the same symptoms occur.)
 
 Thoughts?
 
 Thanks!
 Henry
 
 
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Re: ANDLINUX: Easy virtualization option

[Marc Mouries]

thanks for passing the info. that's interesting. Too bad is supports only 32 
bits OS.

On Dec 6, 2010, at 8:54 PM, Mike Blackstock wrote:

 I've attached a screenshot of Ubuntu and Windows 7 running concurrently on a  
 1 gig netbook (yeah, believe it or not). andlinux has a somewhat different 
 approach to virtualization, described here: 
 http://www.techwandering.com/2008/02/20/andlinux-an-easy-way-to-run-linux-applications-right-on-your-windows-desktop/
   In a nutshell, the linux kernel is recompiled as a native windows app, and 
 it's much faster than either virtualbox or vmware.
 
 500 meg download is at andlinux.org - if anybody wants to try it and has 
 questions, ask away. It works unbelievably well - I've used vmware, and I 
 wouldn;t dream of switching back.
 -Mike andLinux.jpg___
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Re: paper block for little snippets for webpublishing

[Marc Mouries]

Apparently the lilypond-book script does not accept 
Would anyone point me to the instruction to register an enhancement request?


On Dec 1, 2010, at 12:04 PM, Marc Mouries wrote:

 On 11/19/2010 4:54 AM, Bill Mooney wrote:
 Hi,
 you might try :-
 
 lilypond -f png -dresolution=600 filename
 where the 600 is an example - whatever you find is appropriate
 
 Hope this helps
 Regards
 Bill
 Thanks Bill. The option -d is not accepted by lilypond-book only by lilypond.
 Is there any way to set the resolution with lilypond-book?
 
 
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Re: how to get half-bar used in Bach Music?

[Marc Mouries]

just want to let you know there was a typo in the snippet that i just caught.
The function works great and the thinner half bar looks more like the one 
Bach's wrote.

What about adding this snippet in the doc about bar lines?

Would it be possible to do the BarLine override every other bar automatically?


On Dec 4, 2010, at 9:49 PM, Marc Mouries wrote:

 
 thanks all for your help. Browsing the lilypond doc I have stumbled upon the 
 section on the Gregorian notation and what do i find? a half-bar!
 http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Typesetting-Gregorian-chant.html#Divisiones
 
 I tried to use it but apparently it is a breath mark and as such the bar line 
 are also printed.
 I found an old post asking the question how to override the bar line with a 
 snippet that is supposed to work but i get errors on 2.13.38
 http://osdir.com/ml/lilypond-user-gnu/2009-06/msg00299.html 
 
 \version 2.12.2
 divisioMaior = {
 \once \override Score.BarLine #'stencil = #ly:breathing- sign::divisio-maior 
 }
 \relative c' {
 c2 d \divisioMaior
 e f \divisioMaior
 g4 a b2 \divisioMaior
 c1 \divisioMaior
 }
 
 
 
 
 
 On Nov 22, 2010, at 10:30 AM, jakob lund wrote:
 
 Ok here's another ugly hack:
 
 example
 
 #(define __x 1)
 
 {
 \override Staff . BarLine #'bar-size = #(lambda (G) (set! __x (1+
 __x)) (+ 2 (* 2 (modulo __x 2
 
 \relative c'' { c1 c c c c }
 }
 
 /example
 
 It's ugly because it uses a `global' variable __x to count the bars
 and set the bar size to 2 only after an odd number of bars. It screws
 up if you try to use it with more staffs.
 
 If someone who knows the inner workings of scheme in Lilypond reads
 this, I would like to know
 how to properly access the current bar number in the callback!???
 
 
 Jakob.
 
 
 2010/11/22 Alexander Kobel n...@a-kobel.de:
 [ with cc to lilypond-user; please keep the discussions on the mailing list,
 others might have the same problems and can find the solutions in the
 mailing list archives ]
 
 On 2010-11-22 12:38, Martin Kemp wrote:
 
 I've just been struggling with this too. All else having failed, I faked
 it by using an invisible bar line and adding:
 
 \once \override TextScript #'extra-offset = #'(-1 . 3.5) c8_\markup {
 \musicglyph #rests.M2mensural }
 
 Woah, that's some ugly hack...
 Again, I don't see the need for this - I just tested the following, and it
 works just perfect for me (use \halfBar to make a real bar line at the end
 of a measure appear smaller, and \halfAddBar to insert a fake barline of
 half the usual extent).  If it doesn't in your setting, could you give a
 small compiling example to show the problem?
 
 halfBar = \once \override Staff . BarLine #'bar-size = #2
 halfAddBar = { \halfBar \bar | }
 
 \relative c' {
 c4 c \halfAddBar c c \halfBar |
 c c c c |
 }
 
 
 Cheers,
 Alexander
 
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Re: paper block for little snippets for webpublishing

[Marc Mouries]

On 11/19/2010 4:54 AM, Bill Mooney wrote:

Hi,
you might try :-

lilypond -f png -dresolution=600 filename
where the 600 is an example - whatever you find is appropriate

Hope this helps
Regards
Bill
Thanks Bill. The option -d is not accepted by lilypond-book only by 
lilypond.

Is there any way to set the resolution with lilypond-book?


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How to get bar numbers very close to the staff?

[Marc Mouries]

I'd like to get bar numbers very close to the staff to avoid confusing 
them with fingering.
Through Google i could find how to change the position UP or DOWN but i 
could not find how to reduce the space between the bar number and the staff.


Here is the snippet for testing i created.
% test bar number close to the staff to avoid confusion with fingering
\version 2.13.40

melody = \relative c' { c1-1 c1_1 c'1-1 c'1-1 }

\score {
   \new Staff {
 % Layout Settings
 \override Score.BarNumber #'break-visibility = #all-visible
 \override Score.BarNumber #'font-size = #-4
 \override Score.BarNumber #'direction = #DOWN
 % Melody
  \melody
}
}

--Marc

% test bar number close to the staff to avoid confusion with fingering
\version 2.13.40

melody = \relative c' { c1-1 c1_1 c'1-1 c'1-1 }

\score {
   \new Staff {
 % Layout Settings
 \override Score.BarNumber #'break-visibility = #all-visible
 \override Score.BarNumber #'font-size = #-4
 \override Score.BarNumber #'direction = #DOWN
 % Melody
	  \melody
	}
}
	


test bar number close to staff.pdf
Description: Adobe PDF document
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Re: how to get half-bar used in Bach Music?

[Marc Mouries]

thanks Ted, that could do it. The tricky part though is that Bach uses a 
half-bar every other measure.

I ttried this but got 2 issues:
1) 5.0 is not the normal height of the bar line. Would you know what it is?
2) i put a second override to get a normal bar after a half-bar size but the 
second override seems to override the 1st override ???

\relative c' {
  \override Staff.BarLine #'bar-size = #2.0
  c4 c c c |
  \override Staff.BarLine #'bar-size = #5.0
  c c c c |
}

On Nov 21, 2010, at 1:14 AM, Ted Stanion wrote:

 Does this do what you want?
 
 \version 2.12.3
 
 \relative c' {
   \override Staff.BarLine #'bar-size = #2.0
   c4 c c c |
   c c c c |
 }
 
 
 On Sat, Nov 20, 2010 at 9:00 PM, Marc Mouries m...@mouries.net wrote:
 thanks Nick. A half-bar is Bach's writing was a bar containing the same 
 number notes but only went over the staff from the 2nd to the 4th lines.
 
 On Nov 20, 2010, at 11:20 PM, Nick Payne wrote:
 
  On 21/11/10 15:10, Marc Mouries wrote:
  I searched and checked 
  http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Bars
  but could not find a way to print a half-bar like Bach used in some of his 
  music.
  It is not really used often so i'd not be surprised but just wanted to 
  check with you guys just in case.
 
  \version 2.13.39
 
  \relative c'' {
 c4 c c c |
 \set Score.measureLength = #(ly:make-moment 2 4)
 c c |
 \set Score.measureLength = #(ly:make-moment 4 4)
 c c c c |
  }
 
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