Re: Question for Windows users
On Sun, Apr 2, 2023 at 4:08 AM Ya Gloops wrote: > Hello Jean ! > For me a,b,c,d work perfectly... > Gilles > > > > > > > Le dimanche 2 avril 2023 à 01:45:35 UTC+2, Jean Abou Samra < > j...@abou-samra.fr> a écrit : > > > > > > Hi, > > A little question for Windows users: could one of you please > do the following test and report back? > > 1. Choose any font that is NOT installed on your system. > Random choice: https://www.fontsquirrel.com/fonts/alex-brush > It's very recognizable, so it'll be easy to tell if the > font is being properly used. I will assume you use this > font (“AlexBrush”) in the following. > > 2. Create a .ly file in some directory on your computer. Put > the font .otf/.ttf file(s) in that directory. > > 3. Add this code to the .ly file and compile it: > > > \version "2.24.1" > #(ly:font-config-add-directory "C:/path/to/directory") > \markup \override #'(font-name . "AlexBrush") "ABCD" > > > where "C:/path/to/directory" is the path to the directory > you put the .ly file and the font in, with 4 different > variants. Please test all 4 and let me know which work > and which don't. > > a) Slashes in the path and a slash at the end: > C:/path/to/directory/ > b) Slashes in the path and no slash at the end: > C:/path/to/directory > c) Double backslashes in the path and a double backslash at the end: > C:\\path\\to\\directory\\ > d) Double backslashes in the path and no double backslash at the end: > C:\\path\\to\\directory > > > > Thanks in advance. > > > Jean > > > Jean, I know you only asked for one test, but it works for me also. One caveat: I accidentally put the font in a different directory than the .ly file, but of course, typed the correct path to the font. Mark
Re: Vertical position of Tie and Script
On Sat, Mar 25, 2023 at 3:08 PM Knute Snortum wrote:
> On Sat, Mar 25, 2023 at 9:16 AM Masaki, Akikazu <
> masaki-0.56714...@zeus.eonet.ne.jp> wrote:
>
>> Hello,
>>
>> How to set script position closer to its note than ties?
>> In default, ties are always closer to the note than scripts, but
>> depending on the case, contrary is better.
>>
>> e.g.
>>
>> \version "2.24.0"
>> {
>>\override Tie.staff-position = 5
>>c''1--~ c''
>> }
>>
>>
>> In this case, the tenuto should be placed immediately above the note.
>> Perhaps overriding Script.extra-offset is one of solutions, but is there
>> another property controlling the priority of Tie and Script?
>>
>
> Does it have to be a tie? It looks more like a slur, in which case you
> could write:
>
> \version "2.24.0"
> {
>\override Script.avoid-slur = #'inside
>c''1--( c'')
> }
>
> Or else you could force the Y-offset of the tenuto:
>
> \version "2.24.0"
> {
>\override Tie.staff-position = 5
>\override Script.Y-offset = 1.5
>c''1--~ c''
> }
>
> --
> Knute Snortum
>
>
>
Perhaps try:
\version "2.24.0"
{
\override Tie.outside-staff-priority = #1375
c''1--~ c''
c''1--~ c''
}
%
And, of course, add "\once" for a particular instance.
HTH,
Mark
Re: Coda/Segno sign color override not working: LiliyPond 2.24.0
On Sat, Mar 25, 2023 at 8:36 PM Jean Abou Samra wrote: > Le samedi 25 mars 2023 à 10:58 -0400, Mark Mathias a écrit : > > Oops... Except it doesn't. The accent remains black when I run it in > 2.24.0. (I'm only beginning to get a glimmer of how to use Scheme with > LilyPond.) > > In 2.24, articulation-type is a symbol, not a string. You need to remove > the quotes around "staccato", etc. in the alist. > Thank you. Yes, that does it. Now for a related question: If I use a 2.22.0 version statement and run convert-ly to 2.24.0 the quotes remain, so an update requires manual removal of those quotes to run properly. Is that because the snippet is a Scheme extension of LilyPond and therefore wasn't anticipated for the conversion? Mark
Re: Coda/Segno sign color override not working: LiliyPond 2.24.0
On Sat, Mar 25, 2023 at 10:41 AM Mark Mathias wrote: > > > On Sat, Mar 25, 2023, 9:21 AM Aaron Hill wrote: > >> On 2023-03-25 6:10 am, Mark Mathias wrote: >> > On Fri, Mar 24, 2023, 7:59 PM Leo Correia de Verdier < >> > leo.correia.de.verd...@gmail.com> wrote: >> >> But if something more elegant is required (for instance if there could >> >> be >> >> conflicting tweaks) there is a solution in this thread: >> >> https://lists.gnu.org/archive/html/lilypond-user/2021-09/msg00484.html >> > >> > The "elegant" solution intrigues me, but the link to the thread appears >> > to >> > be down. >> >> The link seems to be working here. You can review the same content here >> [1]. >> >> [1]: https://www.mail-archive.com/lilypond-user@gnu.org/msg146125.html >> >> >> -- Aaron Hill >> > >> >> >> Thank you! That works. > > >> Mark > > Oops... Except it doesn't. The accent remains black when I run it in 2.24.0. (I'm only beginning to get a glimmer of how to use Scheme with LilyPond.) Mark
Re: Coda/Segno sign color override not working: LiliyPond 2.24.0
On Sat, Mar 25, 2023, 9:21 AM Aaron Hill wrote: > On 2023-03-25 6:10 am, Mark Mathias wrote: > > On Fri, Mar 24, 2023, 7:59 PM Leo Correia de Verdier < > > leo.correia.de.verd...@gmail.com> wrote: > >> But if something more elegant is required (for instance if there could > >> be > >> conflicting tweaks) there is a solution in this thread: > >> https://lists.gnu.org/archive/html/lilypond-user/2021-09/msg00484.html > > > > The "elegant" solution intrigues me, but the link to the thread appears > > to > > be down. > > The link seems to be working here. You can review the same content here > [1]. > > [1]: https://www.mail-archive.com/lilypond-user@gnu.org/msg146125.html > > > -- Aaron Hill > > > > Thank you! That works. > Mark
Re: Coda/Segno sign color override not working: LiliyPond 2.24.0
On Fri, Mar 24, 2023, 7:59 PM Leo Correia de Verdier <
leo.correia.de.verd...@gmail.com> wrote:
> The problem with that solution is that it changes all Scripts, including
> all articulations. I would suggest the somewhat hacky solution of
> redefining just the commands in case, like
>
> segno = \tweak color #red \segno
> coda = \tweak color #red \coda
>
> But if something more elegant is required (for instance if there could be
> conflicting tweaks) there is a solution in this thread:
> https://lists.gnu.org/archive/html/lilypond-user/2021-09/msg00484.html
>
> HTH
> /Leo
>
> > 25 mars 2023 kl. 00:35 skrev Michael Werner :
> >
> > Hi Laurie,
> >
> > On Fri, Mar 24, 2023 at 7:19 PM savage.laurie
> wrote:
> > I think the issue might be that I am using explicit \coda and \segno
> commands and your example uses the new \repeat segno form which will be too
> complex in the specific big band chart I'm editing. It's about 160 bars
> long with the segno in bar 24 and the "to coda" symbol in bar 48 and three
> repeated sections, I got lost in the nested braces when I tried the new
> structure. If I was writing it from scratch rather than re-editing it would
> be simpler.
> >
> > That is indeed the issue, as those marks are a different type. Just
> needs a different override in a different context. Turns out that using the
> \coda and \segno commands the symbols created are handled the same as
> articulations. That means they fall into the somewhat more generic Script
> type, which is handled in the Voice context. Therefor:
> >
> > \layout {
> > \context {
> > \Score
> > \override CodaMark.color = #red
> > \override SegnoMark.color = #red
> > \override SectionLabel.color = #red
> > \override SectionLabel.font-size = #3
> > \override RehearsalMark.font-size = #3
> > \override RehearsalMark.color = #red
> > \override TextMark.color = #red
> > }
> > \context {
> > \Voice
> > \override Script.color = #red
> > }
> > }
> >
> > should get you sorted.
> >
> > Michael
>
>
The "elegant" solution intrigues me, but the link to the thread appears to
be down.
Mark Mathias
Re: vertical placement of trillspan and upbow
Thanks! On Sun, Mar 5, 2023 at 1:47 PM Jean Abou Samra wrote: > Le dimanche 05 mars 2023 à 13:43 -0500, Mark Mathias a écrit : > > My guess as to why the script-priority isn't a solution is that it decides > between competing scripts and the trill spanner isn't a script. Whereas > outside-staff-priority evaluates competing values of all objects of > whatever type outside the staff. Hopefully someone will correct me if my > understanding is foggy. > > Yes, that sounds correct. >
Re: vertical placement of trillspan and upbow
As I might have guessed, Jean's solution is even easier! Also, I presumed
you wanted the trill to extend through the upbow to the acciaccatura, but
that was probably not what you wanted.
My guess as to why the script-priority isn't a solution is that it decides
between competing scripts and the trill spanner isn't a script. Whereas
outside-staff-priority evaluates competing values of all objects of
whatever type outside the staff. Hopefully someone will correct me if my
understanding is foggy.
Thanks,
Mark
On Sun, Mar 5, 2023 at 1:05 PM Jean Abou Samra wrote:
> Le dimanche 05 mars 2023 à 15:56 +0100, Arjen a écrit :
>
> Hello,
>
> I am trying to switch the vertical stacking order of the upbow symbol and
> the trillspan in the following fragment by overriding the script-priority
> of the upbow symbol.
> The upbow symbol should be the topmost.
>
> \version "2.22.1"
> \relative a'' {
> g1\startTrillSpan ( ~
> \once \override Script.script-priority = #1000
> g2\upbow\stopTrillSpan ~ \acciaccatura fis8 g8 e8)
> }
>
>
> I tried replacing "Script" with "TextScript", but it did not work either.
> And I tried overriding TrillSpanner.script-priority to -1000 (placing it
> before the g1), which also didn't work.
>
> Can someone please be so kind to explain how to accomplish this?
>
>
>
>
> What about just using a more up-to-date LilyPond version?
>
> In 2.24, trill spanners stop before the ending note (as is best practice),
> so you don't need to tweak anything, as your code gives
>
>
> Jean
>
>
>
Re: vertical placement of trillspan and upbow
On Sun, Mar 5, 2023 at 9:56 AM Arjen wrote:
> Hello,
>
> I am trying to switch the vertical stacking order of the upbow symbol and
> the trillspan in the following fragment by overriding the script-priority
> of the upbow symbol.
> The upbow symbol should be the topmost.
>
> \version "2.22.1"
> \relative a'' {
> g1\startTrillSpan ( ~
> \once \override Script.script-priority = #1000
> g2\upbow\stopTrillSpan ~ \acciaccatura fis8 g8 e8)
> }
>
>
>
> I tried replacing "Script" with "TextScript", but it did not work either.
> And I tried overriding TrillSpanner.script-priority to -1000 (placing it
> before the g1), which also didn't work.
>
> Can someone please be so kind to explain how to accomplish this?
>
> Regards,
> Arjen
>
Try using outside-staff-priority instead. Also, I moved your
\stopTrillSpanner over so it extends underneath the upbow.
\version "2.22.1"
\relative a'' {
g1\startTrillSpan ( ~
\once \override Script.outside-staff-priority = #1000
g2\upbow ~ \acciaccatura fis8\stopTrillSpan g8 e8)
}
Someone else will have to explain why script-priority hasn't any effect.
That would enlighten both of us.
Hope This Helps!
Mark
Re: String Number Appears, Then Disappears
On Fri, Mar 3, 2023 at 1:59 PM Jean Abou Samra wrote: > Le vendredi 03 mars 2023 à 19:58 +0100, Jean Abou Samra a écrit : > > Le vendredi 03 mars 2023 à 13:38 -0500, Mark Mathias a écrit : > > If there is a more felicitous means of separating notes and fingerings, > I'd be happy to see it. (Cf., "Your way of entering the music is not > general...") > > Perhaps take a look at https://lsr.di.unimi.it/LSR/Item?id=768. > > Sorry, depending on your mail client, you might get the final period in > the URL, making it incorrect. Try: https://lsr.di.unimi.it/LSR/Item?id=768 > The first link worked fine, thank you. This Scheme solution works. I really appreciate the insight and the LSR link. It isn't any easier than what I was doing, but it preserves the LilyPond logic, which is good. Unfortunately, Frescobaldi no longer links the finger numbers in the pdf back to the code for quicker editing, but I can live with that. To be honest, although I frequent the snippets in the manual, I'd forgotten about the existence of the LilyPond Snippet Repository! Best Wishes, Mark
Re: String Number Appears, Then Disappears
On Fri, Mar 3, 2023 at 11:44 AM Jean Abou Samra wrote:
> Le vendredi 03 mars 2023 à 09:56 -0500, Mark Mathias a écrit :
>
> Greetings!
> Why does a String Number appear under a Horizontal Bracket in the first
> instance, but disappear in the following score?
>
> That's tricky stuff. It has nothing to do with horizontal brackets by the
> way, you can see it on the simpler example
>
> \version "2.24.1"
>
> \new Voice << { c' c' } { s\1 s-1 } >>
>
> Well, for articulations, LilyPond also needs to keep track of the
> relationship between notes and articulations even when several of each
> appear at the same moment. Consider . There are several
> notes and several fingerings at the same moment, and the only way LilyPond
> has to associate a fingering with the right note is to look at how the
> input is formed. By separating articulations from notes, you defeat this
> logic. Your way of entering the music is not general, since it's unclear
> how you would enter that with separate articulations: << ??? >>
> .
>
> For fingerings, there is separate logic that also runs for "orphaned"
> fingerings and attaches them to whatever note comes. For string numbers,
> there isn't. I'm not sure why. This is an area of LilyPond that has long
> been in sore need of a cleanup, to be honest.
>
> And a tangential question: why don't certain engravers, such as
> Horizontal_bracket_engraver, have a context?
>
> If there is no obvious default, LilyPond will let you add them yourself to
> the context you want. You can add Horizontal_bracket_engraver on Voice
> level but also on Staff level. Both have their use cases.
>
Very helpful on both questions, Jean! Thank you.
If there is a more felicitous means of separating notes and fingerings, I'd
be happy to see it. (Cf., "Your way of entering the music is not
general...")
I teach the violin family of instruments to children, mostly ages 9-10, and
they learn melodies first, so I keep notes in one file and each instrument
has a separate file for fingerings, position shifts, etc. I use a circled
fingering for the first note after a shift and the string number
indicator (e.g., "c4\2") is simple to enter, but I can avoid using that by
means of a markup instead. The horizontal bracket may seem redundant, but
it helps them group what notes are in the shifted position and prepare for
the next shift. Once they are advanced enough in both reading and shifting,
a simple circled finger without a bracket suffices.
Best Regards to All,
Mark
String Number Appears, Then Disappears
Greetings!
Why does a String Number appear under a Horizontal Bracket in the first
instance, but disappear in the following score?
And a tangential question: why don't certain engravers, such as
Horizontal_bracket_engraver, have a context?
Cf.,
http://lilypond.org/doc/v2.24/Documentation/internals/horizontal_005fbracket_005fengraver
Thank You in Advance!
Mark Mathias
\version "2.24.0"
% Why don't certain engravers, such as Horizontal_bracket_engraver,
% have a context?
% Cf., http://lilypond.org/doc/v2.24/Documentation/internals/horizontal_005fbracket_005fengraver
\layout {
\context {
\Voice
\consists Horizontal_bracket_engraver
}
}
% Why do String Numbers appear under a Horizontal Bracket here but
% disappear in the following score?
\score {
\relative c'' {
\override HorizontalBracket.outside-staff-priority = 2000
\override HorizontalBracket.direction = #UP
\time 6/8
c8\1 \startGroup c^2 c^\markup \circle \finger "3" c^2 \stopGroup c c
}
}
% Why do String Numbers disappear under a Horizontal Bracket here but
% appear in the first score?
mel = {
\time 6/8
c8 c c c c c
}
mldFNb = {
\time 6/8
\override HorizontalBracket.outside-staff-priority = 2000
\override HorizontalBracket.direction = #UP
s8\1 \startGroup s^2 s^\markup \circle \finger "3" s^2 \stopGroup s s
}
staffMelB = \new Staff {
\relative c'' { \new Voice
<<
\mel
\mldFNb
>>
}
}
\score {
\staffMelB
}
Finger Under Bracket.pdf
Description: Adobe PDF document
Re: jeté
Or even better ;-) :
scriptDefinitions.ricochet = ...
This would make a great addition to the snippet repository.
Thanks,
Mark
On Wed, Jan 25, 2023 at 5:21 PM Jean Abou Samra wrote:
> On 25/01/2023 22:57, Martín Rincón Botero wrote:
> > Dear list,
> >
> > is there any way to make this markup mockup of a jeté symbol into a
> > proper articulation (so that Lilypond knows how to give it an
> > appropriate direction, f. ex.)? I suspect a Scheme workaround might be
> > possible :-).
> >
> > \markup \undertie
> > \markup \overtie
> >
> > Or is it something that needs to be baked into the font? Btw., "jeté"
> > is part of the SMuFL standard. See
> > http://www.smufl.org/version/1.2/range/stringTechniques/. It would be
> > nice to add a symbol for this to Lilypond by default.
>
>
> Try
>
> \version "2.24.0"
>
> jetéMarkup = \markup \undertie \pad-x #0.3 \pattern #4 #X #0.2 \musicglyph
> "dots.dot"
>
>
> \layout {
> \context {
> \Score
> scriptDefinitions =
> #(acons 'jeté
> `((padding . 0.5)
> (direction . ,DOWN)
> (stencil
> . ,(lambda (grob)
> (grob-interpret-markup
>grob
>(if (eqv? DOWN (ly:grob-property grob 'direction))
>jetéMarkup
>#{ \markup \scale #'(1 . -1) \jetéMarkup #})
> default-script-alist)
> }
> }
>
> jeté = #(make-music 'ArticulationEvent 'articulation-type 'jeté)
>
> {
> c'\jeté c'^\jeté c'_\jeté
> }
>
>
> It would be nice if you could spell that as
>
> scriptDefinitions.jeté = ...
>
>
> but infrastructure for nested context properties is not implemented yet,
> unlike grob properties where you can do
> \override Grob.property.subproperty = foo.
>
> Best,
> Jean
>
>
Re: fingering and pedal marking questions
On Tue, Jan 24, 2023 at 10:37 PM Molly Preston
wrote:
> Yeah I tried that and it didn't look any different to me. I want the
> sustainOn to be in the middle of the note head.
>
> On Tue, Jan 24, 2023, 22:07 Mark Mathias wrote:
>
>> On Tue, Jan 24, 2023 at 7:52 PM Molly Preston
>> wrote:
>>
>>> Thank you so much Knute!
>>>
>>> I have another question. Is there a way to get the sustain pedal to be
>>> directly underneath the note instead of to the left? I tried
>>> self-alignment-x = #1, but it didn't change anything.
>>>
>>>
>>>
>>> \version "2.22.2"
>>>
>>> leftHand = {
>>> \clef bass
>>> e,2 g, |
>>> }
>>> pedal = {
>>> \override SustainPedal.self-alignment-X = #0
>>> s4\sustainOn s4 \sustainOff \sustainOn s4\sustainOff s4
>>> }
>>>
>>> \score {
>>>
>>><< \new Staff = "leftHand" { \leftHand }
>>>\new Dynamics { \set Score.pedalSustainStyle = #'bracket {
>>> \pedal } }
>>>>>
>>>
>>>
>>> }
>>>
>>> Thank you again!
>>>
>>> Molly
>>>
>>> On Tue, Jan 24, 2023, 18:42 Knute Snortum wrote:
>>>
>>>> On Tue, Jan 24, 2023 at 1:07 PM Molly Preston
>>>> wrote:
>>>> >
>>>> > Hi! I'm doing a notation assignment.
>>>> >
>>>> > 1) How do I get the pedal markings to show up bracket style when
>>>> using the Dynamics context for it?
>>>> >
>>>> > 2) How do I get the fingering 1 in the second voice to move above the
>>>> Staff?
>>>>
>>>> 1) Use score context for setting the pedal style
>>>> 2) I would just put both fingerings in the first voice
>>>>
>>>> Here's what I did with your score. There were a lot of extraneous
>>>> things that I took out.
>>>>
>>>> \version "2.22.2"
>>>>
>>>> rightHand = {
>>>> <<
>>>> {
>>>> % Put both fingerings here
>>>> a'4-1-4 b' c'' dis''
>>>> }
>>>> \\
>>>> {
>>>> e'2
>>>> }
>>>> >>
>>>> }
>>>>
>>>> leftHand = {
>>>> \clef bass
>>>> d2 c2 |
>>>> }
>>>>
>>>> pedal = {
>>>> % I wasn't sure what you wanted here
>>>> s4\sustainOn s\sustainOff s\sustainOn s\sustainOff
>>>> }
>>>>
>>>> \score {
>>>>
>>>> \new PianoStaff <<
>>>> \new Staff = "rightHand" \rightHand
>>>> \new Staff = "leftHand" { \leftHand }
>>>> % Set pedal style to score context
>>>> \new Dynamics { \set Score.pedalSustainStyle = #'bracket \pedal }
>>>> >>
>>>>
>>>> }
>>>>
>>>> --
>>>> Knute Snortum
>>>>
>>>
>> Maybe try:
>>
>> \version "2.22.2"
>>
>> leftHand = {
>> \clef bass
>> e,2 g, |
>> }
>> pedal = {
>> \override SustainPedal.self-alignment-X = #0
>> s16 s16 \sustainOn s8 s4 \sustainOff \sustainOn
>> s4\sustainOff s4
>> }
>>
>> \score {
>>
>><< \new Staff = "leftHand" { \leftHand }
>>\new Dynamics { \set Score.pedalSustainStyle = #'bracket {
>> \pedal } }
>>>>
>>
>>
>> }
>>
>> Mark Mathias
>>
>
I suspected that was too easy. Someone will come up with something more
sophisticated for you, no doubt. Anyway, they look different to me, but not
different enough to satisfy what you're looking for.
PianoPedalSustain-altered.pdf
Description: Adobe PDF document
PianoPedalSustain-orig.pdf
Description: Adobe PDF document
Re: fingering and pedal marking questions
On Tue, Jan 24, 2023 at 7:52 PM Molly Preston
wrote:
> Thank you so much Knute!
>
> I have another question. Is there a way to get the sustain pedal to be
> directly underneath the note instead of to the left? I tried
> self-alignment-x = #1, but it didn't change anything.
>
>
>
> \version "2.22.2"
>
> leftHand = {
> \clef bass
> e,2 g, |
> }
> pedal = {
> \override SustainPedal.self-alignment-X = #0
> s4\sustainOn s4 \sustainOff \sustainOn s4\sustainOff s4
> }
>
> \score {
>
><< \new Staff = "leftHand" { \leftHand }
>\new Dynamics { \set Score.pedalSustainStyle = #'bracket {
> \pedal } }
>>>
>
>
> }
>
> Thank you again!
>
> Molly
>
> On Tue, Jan 24, 2023, 18:42 Knute Snortum wrote:
>
>> On Tue, Jan 24, 2023 at 1:07 PM Molly Preston
>> wrote:
>> >
>> > Hi! I'm doing a notation assignment.
>> >
>> > 1) How do I get the pedal markings to show up bracket style when using
>> the Dynamics context for it?
>> >
>> > 2) How do I get the fingering 1 in the second voice to move above the
>> Staff?
>>
>> 1) Use score context for setting the pedal style
>> 2) I would just put both fingerings in the first voice
>>
>> Here's what I did with your score. There were a lot of extraneous
>> things that I took out.
>>
>> \version "2.22.2"
>>
>> rightHand = {
>> <<
>> {
>> % Put both fingerings here
>> a'4-1-4 b' c'' dis''
>> }
>> \\
>> {
>> e'2
>> }
>> >>
>> }
>>
>> leftHand = {
>> \clef bass
>> d2 c2 |
>> }
>>
>> pedal = {
>> % I wasn't sure what you wanted here
>> s4\sustainOn s\sustainOff s\sustainOn s\sustainOff
>> }
>>
>> \score {
>>
>> \new PianoStaff <<
>> \new Staff = "rightHand" \rightHand
>> \new Staff = "leftHand" { \leftHand }
>> % Set pedal style to score context
>> \new Dynamics { \set Score.pedalSustainStyle = #'bracket \pedal }
>> >>
>>
>> }
>>
>> --
>> Knute Snortum
>>
>
Maybe try:
\version "2.22.2"
leftHand = {
\clef bass
e,2 g, |
}
pedal = {
\override SustainPedal.self-alignment-X = #0
s16 s16 \sustainOn s8 s4 \sustainOff \sustainOn
s4\sustainOff s4
}
\score {
<< \new Staff = "leftHand" { \leftHand }
\new Dynamics { \set Score.pedalSustainStyle = #'bracket {
\pedal } }
>>
}
Mark Mathias
Re: scheme-sandbox
On Tue, Jan 24, 2023 at 9:55 AM Jean Abou Samra wrote:
> On 24/01/2023 15:26, Mark Mathias wrote:
> > I've taken up Jean Abou Samra's invitation to develop my understanding
> of Scheme through the scheme-sandbox. I'm on Windows 10 with Guile 2.2.7 in
> a command prompt window. The command prompt looks correct:
> >
> > scheme@(#{ g100}#)>.
> >
> >
> > I hit a wall right away. When I type "42", Scheme should print "42" back
> according to Jean's tutorial. Instead I see:
> >
> >
> > While compiling expression:
> > In procedure bytevector-u64-set!: Value out of range: -149659645
> >
> >
> > Typing ",help all" hasn't given me a clue for what to do next, nor has a
> web search turned up something I understand.
> >
> > Thank you in advance. I really enjoy LilyPond and the community
> connected therewith.
>
>
>
> Ouch, that looks like a variant of
> https://gitlab.com/lilypond/lilypond/-/issues/6474
>
> As a workaround, try putting this in a file called ".guile"
> (note the leading dot) in your home directory:
>
> (use-modules (system repl common))
> (repl-default-option-set! 'interp #t)
>
>
> Or instead of using "lilypond scheme-sandbox", use
> "lilypond my-scheme-sandbox.ly", putting this in
> the file "my-scheme-sandbox.ly":
>
> #(use-modules (system repl common))
> #(repl-default-option-set! 'interp #t)
> \include "scheme-sandbox.ly"
>
> HTH,
> Jean
>
> I've chosen the 2nd method and it's working!
Thank You,
Mark
scheme-sandbox
I've taken up Jean Abou Samra's invitation to develop my understanding of
Scheme through the scheme-sandbox. I'm on Windows 10 with Guile 2.2.7 in a
command prompt window. The command prompt looks correct:
scheme@(#{ g100}#)>.
I hit a wall right away. When I type "42", Scheme should print "42" back
according to Jean's tutorial. Instead I see:
While compiling expression:
In procedure bytevector-u64-set!: Value out of range: -149659645
Typing ",help all" hasn't given me a clue for what to do next, nor has a
web search turned up something I understand.
Thank you in advance. I really enjoy LilyPond and the community connected
therewith.
Mark
Re: Repeat Segno with MIDI
On Mon, Jan 23, 2023 at 9:59 AM Jean Abou Samra wrote:
>
>
> Le 23 janv. 2023 à 15:52, Mats Bengtsson a écrit :
>
>
>
>
> On 2023-01-22 21:17, Jean Abou Samra wrote:
>
> Le 22/01/2023 à 21:05, Mark Mathias a écrit :
>
> I'm not seeing a post from anyone else exactly on this issue, so...
>
> I like the new repeat structure:
>
> https://lilypond.org/doc/v2.24/Documentation/notation/long-repeats#segno-repeat-structure
>
> The example works with the whole note after volta 1, but if you add more
> notes, change the rhythm, etc., the pdf doesn't display properly and MIDI
> generates a warning and doesn't execute the repeat properly. If you put
> curly brackets around the volta 1 section the problem disappears.
>
> Is this a bug, or am I missing something (as usual).
>
>
>
>
> ...
> If you don't put the braces in
>
> \volta 1 a4 a a a
>
> it's as if you had written
>
>
> \volta 1 {
> a4
> }
> a a a
>
>
> The question by Mark provides a hint that it would be a good idea to
> revise the specific example in the manual to use a musical expression that
> includes the curly braces.
>
>
> What about submitting a patch?
>
> Jean
>
> Thank you for considering this! It might keep some other benighted soul
from wandering around in confusion a bit.
Best Regards,
Mark
Re: Repeat Segno with MIDI
Jean,
Ahh... of course. I had forgotten that LilyPond doesn't require the braces
for a single note, but does for anything more.
Thank you!
Mark
On Sun, Jan 22, 2023 at 3:17 PM Jean Abou Samra wrote:
> Le 22/01/2023 à 21:05, Mark Mathias a écrit :
> > I'm not seeing a post from anyone else exactly on this issue, so...
> >
> > I like the new repeat structure:
> >
> https://lilypond.org/doc/v2.24/Documentation/notation/long-repeats#segno-repeat-structure
> >
> > The example works with the whole note after volta 1, but if you add
> > more notes, change the rhythm, etc., the pdf doesn't display properly
> > and MIDI generates a warning and doesn't execute the repeat properly.
> > If you put curly brackets around the volta 1 section the problem
> > disappears.
> >
> > Is this a bug, or am I missing something (as usual).
>
>
>
> To explain it by analogy, it's as if you had written
>
> {
>\transpose c' d'
>a b c' d' e' f' g'
> }
>
> and expected \transpose to transpose everything after it.
> That's not how it works. Unlike things like \clef and \time,
> commands like \transpose, \repeat and \volta apply to
> a music argument, so you need to write
>
> {
>\transpose c' d' {
> a b c' d' e' f' g'
>}
> }
>
>
> If you don't put the braces in
>
> \volta 1 a4 a a a
>
> it's as if you had written
>
>
> \volta 1 {
>a4
> }
> a a a
>
>
> The notes after the first one are not included in the argument
> to \volta, and thus not part of the volta, which makes LilyPond
> legitimately confused.
>
> Regards,
> Jean
>
>
Repeat Segno with MIDI
I'm not seeing a post from anyone else exactly on this issue, so...
I like the new repeat structure:
https://lilypond.org/doc/v2.24/Documentation/notation/long-repeats#segno-repeat-structure
The example works with the whole note after volta 1, but if you add more
notes, change the rhythm, etc., the pdf doesn't display properly and MIDI
generates a warning and doesn't execute the repeat properly. If you put
curly brackets around the volta 1 section the problem disappears.
Is this a bug, or am I missing something (as usual).
Thanks,
Mark
\version "2.24.0"
% https://lilypond.org/doc/v2.24/Documentation/notation/long-repeats#segno-repeat-structure
musicQ = \fixed c' {
f1
\repeat segno 2 {
g1
\volta 2 \fine
\volta 1 a4 a a a
}
\section
}
musicQcurly = \fixed c' {
f1
\repeat segno 2 {
g1
\volta 2 \fine
\volta 1 { a4 a a a }
}
\section
}
\score { \musicQ }
\score { \unfoldRepeats \musicQ }
\score { \unfoldRepeats \musicQ
\midi { }
}
\score { \musicQcurly }
\score { \unfoldRepeats \musicQcurly
\midi { }
}
Repeat Segno With MIDI-1.mid
Description: audio/mid
Repeat Segno With MIDI.mid
Description: audio/mid
Repeat Segno With MIDI.pdf
Description: Adobe PDF document
Re: Supress Instrument after P. 1
On Thu, Jan 5, 2023 at 4:33 PM Wol wrote:
> On 05/01/2023 20:29, Xavier Scheuer wrote:
> > On Thu, 5 Jan 2023 at 21:11, Mark Mathias > <mailto:d8val...@gmail.com>> wrote:
> > >
> > > Partly to duplicate a 1910 popular song layout, and partly to
> > continue growing in LilyPond skill, I'm wanting to suppress the
> > bookTitleMarkup instrument field after page 1.
> > >
> > > I've read the sections on Titles and Headers, Customizing, etc., and
> > other parts of the manual, and I've made a number of attempts, but I'm
> > not yet at the point where I understand what to do.
> >
> > Hello,
> >
> > The best way is to look at the definition of oddHeaderMarkup and
> > evenHeaderMarkup in ‘ly/titling-init.ly <http://titling-init.ly>’ and
> to
> > modify it accordingly.
> > If you comment (or remove) the lines containing \fromproperty
> > #'header:instrument, you get what you want (see below).
> >
> > \paper {
> >oddHeaderMarkup = \markup
> >\fill-line {
> > ""
> > % \unless \on-first-page-of-part \fromproperty #'header:instrument
> > \if \should-print-page-number \fromproperty
> #'page:page-number-string
> >}
> >evenHeaderMarkup = \markup
> >\fill-line {
> > \if \should-print-page-number \fromproperty
> #'page:page-number-string
> > % \unless \on-first-page-of-part \fromproperty #'header:instrument
> > ""
> >}
> > }
> >
> And, because it's a system file, you have a choice. Do you want to
> modify the system file, or do you want to copy it.
>
> I've done this with header.ly or whatever it's called, and while others
> might disagree, I've got my own copy of this file which I include in my
> projects (don't remember off the top of my head how I did it).
>
> But imho this is the best way to do it. When the system is updated, your
> changes don't get over-written. And you remember, because your layout is
> different from the default, that you have a modified version of a system
> file.
>
> (My header file lays out the piece title, composer, instrument etc in
> typical brass band layout which is both noticeably different and more
> compact from lily's default orchestral layout.)
>
> Cheers,
> Wol
>
>
Thank you, Xavier. I recognize this now as similar to when I added a boxed
"Score" in the upper LH corner on a previous project, but understand it more
this time.
And, thank you, Wol! That's actually a habit I had already picked up!
(And this time I remembered to bottom-post...)
Blessing,
Mark
Supress Instrument after P. 1
Partly to duplicate a 1910 popular song layout, and partly to continue
growing in LilyPond skill, I'm wanting to suppress the bookTitleMarkup
instrument field after page 1.
I've read the sections on Titles and Headers, Customizing, etc., and other
parts of the manual, and I've made a number of attempts, but I'm not yet at
the point where I understand what to do.
\version "2.24.0"
\header {
instrument = \markup "MyInstrument (Print on P. 1, disappear later.)"
}
{ c''1 }
\pageBreak
{ c''1 }
tiny.pdf
Description: Adobe PDF document
Re: Sizing Dynamics
Wonderful! Thank you. I had gotten closer to discovering the Hairpin.height
parameter, but my level of understanding starts getting challenged when
reading Internals pages and knowing what to do with them. (Non-programmer,
you see.) Your tip just allowed me to understand enough to add \override
Hairpin.self-alignment-Y = #-3 and place them nicely.
Thank You Again and Happy New Year,
Mark
On Tue, Jan 3, 2023 at 9:53 AM Michael Werner wrote:
> Oh yeah, one more thing. When you're doing the Dynamics context you don't
> need to replace the notes with spacer rests. You can just do a direct copy
> of the music and add the dynamics to it - the notes don't get printed. So
> you can just do this:
>
> \new Dynamics \with {
> fontSize = #-5
> \override Hairpin.height = #0.4
> } { c4\p c-\markup sostenuto c c c\< c c c\! }
>
> and get just the dynamics.
>
> On Tue, Jan 3, 2023 at 9:48 AM Michael Werner wrote:
>
>> Hi Mark,
>>
>> Looks like Hairpins have their own sizing properties. A full list is at
>> http://lilypond.org/doc/v2.24/Documentation/internals/hairpin but in
>> this case looks like height is probably the one you want used something
>> like this:
>>
>> \version "2.24.0"
>> \relative c'' {
>> <<
>> \new Staff \with {
>> \magnifyStaff #2/3
>> } { c4 c c c c c c c }
>> \new Dynamics \with {
>> fontSize = #-5
>> \override Hairpin.height = #0.4
>> } { s\p s-\markup sostenuto s s s\< s s s\! }
>> >>
>> }
>>
>> The default height value is 0. so 0.4 is a rough approximation of 2/3
>> the default. Adjust to taste.
>>
>> On Tue, Jan 3, 2023 at 9:19 AM Mark Mathias wrote:
>>
>>> Yes, thank you. I overlooked retrying \magnifyStaff having just updated
>>> to 2.24.0 after failing in 2.22.2. I just now tried it, but I get the same
>>> result as with fontsize, viz., the text changes size, but the hairpins do
>>> not.
>>>
>>> On Tue, Jan 3, 2023 at 8:49 AM Xavier Scheuer
>>> wrote:
>>>
>>>> On Tue, 3 Jan 2023 at 14:30, Mark Mathias wrote:
>>>> >
>>>> > Using dynamics separately from a staff is useful, but for some reason
>>>> changing the size affects the DynamicText but not the hairpins. I'd like
>>>> the hairpins to match the staff size if possible.
>>>>
>>>> Hello,
>>>>
>>>> If you use Lilypond version > 2.23.6 (which seems to be the case
>>>> according to your version statement), you should be able to use
>>>> \magnifyStaff in Dynamics context.
>>>> https://gitlab.com/lilypond/lilypond/-/issues/6188
>>>>
>>>> Cheers,
>>>> Xavier
>>>>
>>>> --
>>>> Xavier Scheuer
>>>>
>>>>
Re: Sizing Dynamics
Yes, thank you. I overlooked retrying \magnifyStaff having just updated to 2.24.0 after failing in 2.22.2. I just now tried it, but I get the same result as with fontsize, viz., the text changes size, but the hairpins do not. On Tue, Jan 3, 2023 at 8:49 AM Xavier Scheuer wrote: > On Tue, 3 Jan 2023 at 14:30, Mark Mathias wrote: > > > > Using dynamics separately from a staff is useful, but for some reason > changing the size affects the DynamicText but not the hairpins. I'd like > the hairpins to match the staff size if possible. > > Hello, > > If you use Lilypond version > 2.23.6 (which seems to be the case according > to your version statement), you should be able to use \magnifyStaff in > Dynamics context. > https://gitlab.com/lilypond/lilypond/-/issues/6188 > > Cheers, > Xavier > > -- > Xavier Scheuer > >
Sizing Dynamics
Using dynamics separately from a staff is useful, but for some reason
changing the size affects the DynamicText but not the hairpins. I'd like
the hairpins to match the staff size if possible.
Thank you,
Mark
\version "2.24.0"
\relative c'' {
<<
\new Staff \with {
\magnifyStaff #2/3
} { c4 c c c c c c c }
\new Dynamics \with {
fontSize = #-5
} { s\p s-\markup sostenuto s s s\< s s s\! }
>>
}
DynamicsSize.pdf
Description: Adobe PDF document
Re: Table of Contents, 2-column
> > Le 12/12/2022 à 16:59, Mark Mathias a écrit : > > LilyPond Friends, > > > > I wish to format a table of contents in two columns. The attached tiny > > file (at least as tiny as I could figure) shows a standard layout, > > then a clumsy visual of what I want (which has no automatic page > > numbering), then sample music. > > > > I suspect the answer involves scheme programming beyond my skills at > > this point... > > > > Thank you for your time and kind response! > > > > Mark > > > On Mon, Dec 12, 2022 at 11:31 AM Jean Abou Samra > wrote: > >> >> >> Check if the code here works for you: > > https://lists.gnu.org/archive/html/lilypond-user-fr/2022-08/msg00121.html > > Best, > Jean > > PS: it requires a recent version. If you want to use it in version 2.22, > you need > a few minor modifications: > > when => if > >(line 11) > > (const 1) => (lambda _ 1) > >(line 84) > > (const 0) => (lambda _ 0) > >(line 86) > > Jean, Thank you very much. Yes, I use 2.22.2 now. This works beautifully! With Gratitude, Mark
Table of Contents, 2-column
LilyPond Friends,
I wish to format a table of contents in two columns. The attached tiny file
(at least as tiny as I could figure) shows a standard layout, then a clumsy
visual of what I want (which has no automatic page numbering), then sample
music.
I suspect the answer involves scheme programming beyond my skills at this
point...
Thank you for your time and kind response!
Mark
\version "2.22.2"
\bookpart {
\paper {
tocTitleMarkup = \markup \column {
\fill-line { "Table of Contents" }
}
tocItemMarkup = \markup \fill-line {
\fromproperty #'toc:text \fromproperty #'toc:page
}
tocItemMarkup = \tocItemWithDotsMarkup
}
\markuplist \table-of-contents
\markup {
\null
\hspace #4
\column {
\line { \with-color "white"
"This line is blank, helps center the column line." }
\line { "Title One" }
}
\hspace #1
\draw-line #'(0 . -8)
\hspace #2
\column {
\null
\line { "Title Two" }
}
}
\tocItem \markup { "Title One" }
\score {
\header { piece = "Title One" }
\new Staff
\relative c' {
c4 c c c
}
}
\tocItem \markup { "Title Two" }
\score {
\header { piece = "Title Two" }
\new Staff
\relative c' {
c4 c c c
}
}
}
Dotted rests overlaid in voices show two dots, one above the other
Using \rest, I can place rests from each of two voices on a staff on top of
each other without interference, thereby allowing use of the material from
each voice in separate scores elsewhere without editing. Cf:
To explicitly specify a rest’s vertical position, write a note followed by
\rest. A rest of the duration of the note will be placed at the staff
position where the note would appear. This allows for precise manual
formatting of polyphonic music, since the automatic rest collision
formatter will not move these rests.
The problem is that if the rests are dotted, the automatic rest collision
formatter forces the dots to be moved even though the rests stay in place:
\version "2.22.2"
\relative c'' {
<<
b2.\rest
\\
b2.\rest
>>
}
Perhaps I'm doing something wrong? Or maybe it's a bug?
Thanks,
Mark
Re: Lilypond/Frescobaldi on Mac Os 12
On Thu, Oct 6, 2022 at 2:56 PM Jean Abou Samra wrote: > Le 06/10/2022 à 14:27, Mark Mathias a écrit : > > I am introducing an orchestra teacher friend to Lilypond/Frescobaldi. > > We tried to install Lilypond on a Mac Os 12 notebook, but got an error > > message saying Lilypond wasn't compatible with that version. Our next > > step will be to install it on her home PC, but at some point it would > > be nice to be able to use her Mac at work with Lilypond. > > > > Is there anything we can do besides wait? If that is the case, does > > anyone have an idea of how long the wait will be? > > > > > LilyPond 2.22, the latest stable version, does not have official > 64-bit binaries, but as Thomas said, you can get around this by > installing from MacPorts. > > Alternatively, you could use the latest unstable version, 2.23.13, > for which 64-bit binaries are provided officially. See > https://lilypond.org/development.html > > The next stable release, LilyPond 2.24, will have 64-bit official > binaries and is planned to come around mid-December if all goes > well. > > Best, > Jean > Thank you so much, Jean and Thomas! I'm embarrassed to say, I read that info on the website, but didn't really "get it" since I'm not a Mac person and neither is she. We'll explore the MacPorts solution together. Blessings! Mark Beautiful music is God's love made audible.
Lilypond/Frescobaldi on Mac Os 12
I am introducing an orchestra teacher friend to Lilypond/Frescobaldi. We tried to install Lilypond on a Mac Os 12 notebook, but got an error message saying Lilypond wasn't compatible with that version. Our next step will be to install it on her home PC, but at some point it would be nice to be able to use her Mac at work with Lilypond. Is there anything we can do besides wait? If that is the case, does anyone have an idea of how long the wait will be? As always, thank you! Mark
Re: Goodbye
Thanks for the kind note to the LilyPond community. I just rejoined the list after a hiatus and saw it. Prayer, blessing and Best Wishes, Mark On Fri, Mar 20, 2020 at 8:48 AM Peter Toye wrote: > Circumstances dictate that I will no longer be doing any music engraving. > So I would like to take this opportunity to thank everyone here for their > help, enthusiasm, expertise and, above all, patience in answering my > questions. > > Happy Ponding, > > Peter > mailto:lilyp...@ptoye.com > www.ptoye.com >
Re: Convert-ly adds line breaks
Thank you to all, especially Daniel re the open issue. Will bide my time, MPM On Sun, Mar 15, 2020 at 5:29 PM Daniel Rosen wrote: > > -Original Message- > > From: Martin Neubauer [mailto:mrtn...@gmail.com] > > Sent: Sunday, March 15, 2020 2:11 PM > > To: lilypond-user@gnu.org > > Subject: Re: Convert-ly adds line breaks > > > > Hi, > > > > I suspect this is a Unix vs. Windows line ending issue. > > That's exactly what it is. The Frescobaldi project has an open issue for > this that I just commented on earlier today (before I saw that this thread > existed): > https://github.com/frescobaldi/frescobaldi/issues/880#issuecomment-599236580 > > DR > >
Convert-ly adds line breaks
Running Frescobaldi 3.1.1 "Update with convert-ly" from LilyPond 2.18.2 to 2.20.0 added an extra line break to every line of the .ly file (Windows10). I can strip them out of course, but is there a way to avoid this? Couldn't find anything in Frescobaldi preferences that covers this. Thank you, Mark
Re: Lilypond in Windows shows version 0.4
Torsten, All is working now! Thank You! Mark On Sat, Mar 7, 2020 at 6:39 PM Torsten Hämmerle wrote: > Mark Mathias-2 wrote > > The 2.20.0 version is listed in Frescobaldi's preferences with a correct > > full path, but there is a red "no go" symbol to the left of the line. > > [...] > > Here's the path I've specified: C:\Program Files (x86)\LilyPond > > 2.20.0\usr\bin\lilypond > > > > I must still have something wrong... > > Hi Mark, > > Yes, you're right: you must have something wrong… ;) > > Obviously, there's an error in the specified lilypond binary, I've just > checked it by playing around with one of my paths. Frescobaldi will > display > a no entry sign on the left if the path/file specification is invalid. > In your case, it looks as if the "*.exe*" suffix was missing. > If you want to avoid typing errors, you can use the "open file dialog" icon > on the right of the LilyPond Command field and click your way through to > lilypond*.exe*. > > As soon as the specified LilyPond Command (i.e. the lilypond.exe binary > with > a fully specified path) is OK, the no entry icon will immediately be > replaced by a lovely little water lily icon and I'm sure your Frescobaldi > will then be able to launch the corresponding LilyPond version without any > further ado. > > HTH and good luck, > Torsten > > > > -- > Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html > >
align text to the right margin of the page
I'm including blocks of text within a \book of many short duets. How do I
align text with the right margin as is done, for example, with the
\composer line?
\version "2.18.2"
%How do I align this with the right margin of the page?
\markup { English translation by anonymous. }
Thank you!
Mark
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: separating notes and fingerings
That's the ticket! Once again, thank you one and all: David, Thomas, Harm
and Martin. You guys are amazing and greatly appreciated!
Mark
On Thu, Oct 20, 2016 at 8:39 AM, Thomas Morley <thomasmorle...@gmail.com>
wrote:
> 2016-10-20 14:08 GMT+02:00 David Kastrup <d...@gnu.org>:
> > Mark Mathias <d8val...@gmail.com> writes:
> >
> >> Has anyone a happier method of separating fingering from notes? I would
> >> like to produce several versions of the same music using different
> >> fingerings for different instruments.
> >>
> >> For example, a melody might have four versions: one for violin, another
> for
> >> viola, another for cello and another for double bass. In addition to
> >> different clef and octave, each version would call for fingering
> >> appropriate to that instrument, but the same file including the melody
> >> would be reused in each version.
> >>
> >> Right now if I separate notes in one \include file from fingerings in
> >> another include file and combine them as separate voices, LilyPond
> doesn't
> >> place the fingering voice with an awareness of the notes voice, leading
> to
> >> collisions.
> >>
> >> In the version below, for example, the flageolet nearly touches the
> stem of
> >> the A, and the 3 is almost fully covered by the notehead of the A an
> octave
> >> above.
> >>
> >> My search of manuals, snippets, etc., hasn't turned up a good method.
> >>
> >> \version "2.19.16"
>
> %% Add
> \new Voice
> %% here, otherwise David's proposal will not work sufficiently
>
> >> \relative c'' {
> >> <<
> >> { \stemNeutral a4 c f a }
> >> \\
> >
> > Remove the \\ here: it separates voices (which you apparently noticed
> > and tried to offset with \stemNeutral, also unneeded). Without \\,
> > fingerings and notes are in the same Voice and will get combined.
> >
> >> { s^\flageolet s^\markup { \finger "↓2" } s^\markup { \finger "↓1" }
> >> s^3 }
> >> >>
> >> g,^\flageolet c^\markup { \finger "↓2" } f^\markup { \finger "↓1" }
> a^3
> >> }
> >
> > --
> > David Kastrup
>
>
> Cheers,
> Harm
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
separating notes and fingerings
Has anyone a happier method of separating fingering from notes? I would
like to produce several versions of the same music using different
fingerings for different instruments.
For example, a melody might have four versions: one for violin, another for
viola, another for cello and another for double bass. In addition to
different clef and octave, each version would call for fingering
appropriate to that instrument, but the same file including the melody
would be reused in each version.
Right now if I separate notes in one \include file from fingerings in
another include file and combine them as separate voices, LilyPond doesn't
place the fingering voice with an awareness of the notes voice, leading to
collisions.
In the version below, for example, the flageolet nearly touches the stem of
the A, and the 3 is almost fully covered by the notehead of the A an octave
above.
My search of manuals, snippets, etc., hasn't turned up a good method.
\version "2.19.16"
\relative c'' {
<<
{ \stemNeutral a4 c f a }
\\
{ s^\flageolet s^\markup { \finger "↓2" } s^\markup { \finger "↓1" }
s^3 }
>>
g,^\flageolet c^\markup { \finger "↓2" } f^\markup { \finger "↓1" } a^3
}
Thank you!
Mark Mathias
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Show TupletNumber after \hide
Gentlemen,
All of this is enlightening and helpful! Thank you. And pardon the snake
oil :-) ... that's what you get from a musician who loves LilyPond but
struggles with the computing side!
Mark
On Tue, Oct 11, 2016 at 5:48 AM, Thomas Morley <thomasmorle...@gmail.com>
wrote:
> 2016-10-11 6:26 GMT+02:00 Mark Mathias <d8val...@gmail.com>:
> > LilyPond Friends,
> >
> > The manuals explain how to hide tuplet numbers, but nowhere could I find
> an
> > explanation of how to turn them back on. After many experiments, I
> finally
> > found an easy way to control turning on tuplet numbers after turning them
> > off. The secret was to enclose within curly brackets those tuplets whose
> > number needed to be hidden. Should this be shared somewhere?
> >
> > \version "2.19.16"
> > \relative c' {
> > \tuplet 3/2 { c8 c c } c4
> > \once \hide TupletNumber { \tuplet 3/2 { c8 c c } } c4
> > \tuplet 3/2 { c8 c c } c4
> > }
> >
> > Thanks,
> > Mark
> >
> >
> Hi Mark,
>
> others commented on it already.
>
> Let me share some general advice.
>
> I suspect you were a little confused by the \hide TupletNumber command
> and how to deal with it to fit your needs.
>
> \hide and a lot of other commands are shortcuts, or you could even say
> syntactic sugar. Sometimes it will get you more steps forward, when
> you make yourself clear what they actually represent.
>
> - Sometimes the docs help.
> Though, in the case of \hide the NR _explains_ what it is/does but the
> underlying code is not quoted (would be beyond the purpose of the NR).
>
> - You could look through the source-files.
> Using the search-function of my editor I got 13 hits for `hide' in
> .ly-files. Actually not that much for such a generic search-term and
> the wanted one is among them.
>
> - Or most simple, use \displayLilyMusic
> {
> \displayLilyMusic
> \hide TupletNumber \tuplet 3/2 { c'8 c' c' }
> }
> returns:
> \override TupletNumber.transparent = ##t
>
> Now you know it's a common override, which could be used with other
> commands like \once, \temporary etc. And/or \revert later.
>
> Letting things be displayed with the various displaying-procedures
> helps a lot. I do it all the time.
>
> HTH,
> Harm
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Show TupletNumber after \hide
LilyPond Friends,
The manuals explain how to hide tuplet numbers, but nowhere could I find an
explanation of how to turn them back on. After many experiments, I finally
found an easy way to control turning on tuplet numbers after turning them
off. The secret was to enclose within curly brackets those tuplets whose
number needed to be hidden. Should this be shared somewhere?
\version "2.19.16"
\relative c' {
\tuplet 3/2 { c8 c c } c4
\once \hide TupletNumber { \tuplet 3/2 { c8 c c } } c4
\tuplet 3/2 { c8 c c } c4
}
Thanks,
Mark
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
Hey Ryan, Tim, et al., I'm a double bassist who has enjoyed playing these cello suites for years. I also used to be managing editor of a music publisher in the days when engraving was done with a re-built Olympia typewriter and hand-drawn slurs. A single page of melody, words and guitar chords would require 30 man-hours of work to produce a camera-ready copy. Computers were for accountants in those days. I fell in love with LilyPond after years of struggling with Finale and never liking the quality of the final product. My Peters Edition of the Praeludium shows 9 staves on page one and 11 on page two, and I think your original looks best so far. Keep up the good work! Mark Mathias On Thu, Apr 17, 2014 at 10:33 PM, Ryan McClure ryanmichaelmccl...@gmail.com wrote: Hey Tim, Here is an updated version where I did 10 on each page. Look at the penultimate line on the last page...it seems like no matter how I do it, I always get some sort of crammed measures. Any ideas? -Ryan -Original Message- From: Tim Reeves tim.ree...@tokamerica.com To: lilypond-user@gnu.org, ryanmichaelmccl...@gmail.com Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! Date: Thursday, 17 April 2014, 19:20:37 Message: 4 Date: Thu, 17 Apr 2014 22:00:27 -0400 From: Ryan McClure ryanmichaelmccl...@gmail.com To: lilypond-user@gnu.org Subject: Bach Cello Suite for Bassoon...Typed in LilyPond!!! Message-ID: 20140417220027.5926af75@RyansLinuxBox Content-Type: text/plain; charset=us-ascii Hello all! I'm currently arranging the Bach Cello Suites for Bassoon. I'm arranging them to be more playable on the bassoon (breathing, articulations, etc.) with the help of my private teacher. Attached is the Praeludium of the first suite--How does it look? I want to make this the best edition that I can. Ryan McClure ryanmichaelmccl...@gmail.com Music Education Major, Shepherd University Luna Music Engraving -- next part -- A non-text attachment was scrubbed... Name: Suite1.pdf Type: application/pdf Size: 108858 bytes Did you try it with ten systems on both pages, instead of nine on the first page, eleven on the second page? Might look more even. Just a thought. I really like the cover page. I play the Bach Cello Suites frequently at home, transcribed for horn (by Wendell Hoss), so I can appreciate what you're doing. Tim ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
I also used to be managing editor of a music publisher in the days when engraving was done with a re-built Olympia typewriter and hand-drawn slurs. I would like to nominate this as the single most insane sentence to be posted on this mailing list all week. Perhaps all month. @James: If you are questioning the sanity of producing music this way (due to its difficulty), consider the only alternative at that time: hand engraving every mark on the music page on a copper plate with awl, hammer and symbols cast on the ends of metal punches! Believe me, this was a step up, and my wife and children had no doubt of my sanity when the paycheck arrived! :-) Music engraving with a typewriter? Does anyone have a photo of this? I'm really intrigued! @Ryan: Sorry, the only pictures of this process I possess are memories at this point in time. We were too busy producing the music to get out a camera and develop the film! Best Wishes Everyone! Mark On Fri, Apr 18, 2014 at 1:06 PM, Shane Brandes sh...@grayskies.net wrote: Have you looked at the Anna Magdalena copy? The phrasing is different. On Fri, Apr 18, 2014 at 12:55 PM, Tim Reeves tim.ree...@tokamerica.com wrote: Ryan, I'm not sure there's any way around that since each measure is so long and you can't break them across lines... Personally, I like the second one (ten staves, ten staves) better than the nine/eleven version but that might just be me... Tim Ryan McClure ryanmichaelmccl...@gmail.com wrote on 04/17/2014 07:33:03 PM: From: Ryan McClure ryanmichaelmccl...@gmail.com To: lilypond-user@gnu.org, Cc: Tim Reeves tim.ree...@tokamerica.com Date: 04/17/2014 07:33 PM Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! Hey Tim, Here is an updated version where I did 10 on each page. Look at the penultimate line on the last page...it seems like no matter how I do it, I always get some sort of crammed measures. Any ideas? -Ryan -Original Message- From: Tim Reeves tim.ree...@tokamerica.com To: lilypond-user@gnu.org, ryanmichaelmccl...@gmail.com Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! Date: Thursday, 17 April 2014, 19:20:37 Message: 4 Date: Thu, 17 Apr 2014 22:00:27 -0400 From: Ryan McClure ryanmichaelmccl...@gmail.com To: lilypond-user@gnu.org Subject: Bach Cello Suite for Bassoon...Typed in LilyPond!!! Message-ID: 20140417220027.5926af75@RyansLinuxBox Content-Type: text/plain; charset=us-ascii Hello all! I'm currently arranging the Bach Cello Suites for Bassoon. I'm arranging them to be more playable on the bassoon (breathing, articulations, etc.) with the help of my private teacher. Attached is the Praeludium of the first suite--How does it look? I want to make this the best edition that I can. Ryan McClure ryanmichaelmccl...@gmail.com Music Education Major, Shepherd University Luna Music Engraving -- next part -- A non-text attachment was scrubbed... Name: Suite1.pdf Type: application/pdf Size: 108858 bytes Did you try it with ten systems on both pages, instead of nine on the first page, eleven on the second page? Might look more even. Just a thought. I really like the cover page. I play the Bach Cello Suites frequently at home, transcribed for horn (by Wendell Hoss), so I can appreciate what you're doing. Tim[attachment Suite1.pdf deleted by Tim Reeves/OAI] ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
The Musicwriter was it! Very cool site, thanks! Mark On Fri, Apr 18, 2014 at 3:50 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Music engraving with a typewriter? Does anyone have a photo of this? I'm really intrigued! http://www.musicprintinghistory.org/music-typewriters.html Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Aligning parenthesized chords
May I please have some help aligning the parenthesized chords so that the
letter names align vertically with the unparenthesized chords below them?
Thank you!
Mark
\version 2.18.0
#(define (parenthesis-ignatzek-chord-names in-pitches bass inversion
context)
(markup #:line (( (ignatzek-chord-names in-pitches bass inversion
context)
chordNames = \chordmode { c1 g }
chordNamesCapo = \chordmode {
\transpose c' a {
\set chordNameFunction = #parenthesis-ignatzek-chord-names
c1 g
}
}
chordsPart = \new ChordNames \chordNames
chordsPartCapo = \new ChordNames \chordNamesCapo
soprano = \relative c' { c4 c c c b b b b }
\score {
\chordsPartCapo
\chordsPart
\soprano
\layout { }
}
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Aligning parenthesized chords
Perfect! Thank you, Pierre! Mark On Fri, Mar 28, 2014 at 4:53 AM, Pierre Perol-Schneider pierre.schneider.pa...@gmail.com wrote: 2014-03-28 8:07 GMT+01:00 Mark Mathias d8val...@gmail.com: May I please have some help aligning the parenthesized chords so that the letter names align vertically with the unparenthesized chords below them? Thank you! Mark #(define (parenthesis-ignatzek-chord-names in-pitches bass inversion context) (markup #:hspace -1 #:line (( (ignatzek-chord-names in-pitches bass inversion context) HTH, ~Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
alternating left/right margins
No doubt I've missed it, but I cannot find a place in the manuals helping me to alternate left and right margin widths to accomodate inserting a printed copy into a 3-hole punched notebook. Thanks! Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
position fingering
This doesn't look right:
\version 2.18.0
%Fingering collides with bracket.
\relative {
\[ b4^2 c^3 \]
}
This is an improvement:
\version 2.18.0
%Fingering is above the bracket.
\relative {
\[ b^\markup \finger 2 c^\markup \finger 3 \]
}
Would someone please help me position the fingering withing the bracket,
either by lengthening the bracket or horizontally moving the fingering to
the right?
Thank you!
Mark
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: position fingering
Thank you to Phil and Thomas for a quick response! I think Phil's response
was tongue-in-cheek, but I'm not sure! :-) At any rate the result looks
like my first example, so it wasn't an improvement. Thomas's suggestion
works great and I hope I've learned a little more about tweaking as a
result.
Can either of you suggest a good way to improve my knowledge of Scheme? (I
know almost nothing: almost everything I know about coding I've learned
through engraving music with LilyPond --- which I love.)
Thanks again, you guys are great! Someday I hope to join the bug squad
again!
Mark
On Sat, Mar 8, 2014 at 7:06 AM, Thomas Morley thomasmorle...@gmail.comwrote:
2014-03-08 12:51 GMT+01:00 Mark Mathias d8val...@gmail.com:
This doesn't look right:
\version 2.18.0
%Fingering collides with bracket.
\relative {
\[ b4^2 c^3 \]
}
[...]
Would someone please help me position the fingering withing the bracket,
either by lengthening the bracket or horizontally moving the fingering to
the right?
Hi Mark,
try:
\version 2.18.0
\relative {
\once \override LigatureBracket.shorten-pair = #'(-1.4 . -0.2)
\[ b4^2 c^3 \]
\[ b4-\tweak #'X-offset #1.5 ^2 c^3 \]
}
HTH,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
show bar number
The manual shows how to show bar numbers on every bar:
http://www.lilypond.org/doc/v2.17/Documentation/notation/bars#bar-numbers.
This works when the code is pasted into a new lilypond file, but I must
still not understand something pretty fundamental about LilyPond because no
matter where I've placed it, I can't get it to work in this file:
\version 2.16.1
% Here is the line I can't place correctly:
\override Score.BarNumber.break-visibility = #'#(#t #t #t)
\paper {
#(set-paper-size letter)
}
\layout {
\context {
\Score
}
}
global = {
}
violinI = \relative c'' {
\repeat volta 2 {
\global
c c c c
}
}
violinIPart = \new Staff \with {
} \violinI
\score {
\violinIPart
\layout {
}
}
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.16.0 PDF portfolio of documentation
Thank you from me as well! Mark On Sat, Aug 25, 2012 at 2:10 PM, Jay Hamilton i...@soundand.com wrote: THis is s great, thank you very much. Jay On Sat, Aug 25, 2012 at 9:00 AM, lilypond-user-requ...@gnu.org wrote: Re: 2.16.0 PDF portfolio of documentation -- Jay Hamilton Sound and Silence www.soundand.com 206-328-7694 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Learning Manual
james, I've forwarded this to the Bug Squad (so they know) and will add it to the Issues Tracker. Thanks! Mark On Sat, Aug 25, 2012 at 4:19 PM, james james.lilyp...@googlemail.comwrote: Section 1.1.4 of the Learning Manual has version 2.14.2 instead of 2.16.0. It's not a big problem, and it's probably not difficult to fix, but it's there. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Learning Manual
Added to the tracker as 2777: http://code.google.com/p/lilypond/issues/detail?id=2777thanks=2777ts=1345947348 On Sat, Aug 25, 2012 at 10:11 PM, Mark Mathias d8val...@gmail.com wrote: james, I've forwarded this to the Bug Squad (so they know) and will add it to the Issues Tracker. Thanks! Mark On Sat, Aug 25, 2012 at 4:19 PM, james james.lilyp...@googlemail.comwrote: Section 1.1.4 of the Learning Manual has version 2.14.2 instead of 2.16.0. It's not a big problem, and it's probably not difficult to fix, but it's there. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem with beam
Eluze, I forgot to make sure that the lilypond-user list was in the To field when I replied as follows: Fabio, Try \stemUp or \stemDown. In English, the beam is the horizontal line, so you want to tell the stem (vertical) to move and the beam will follow. Best Wishes from a fellow bass player! Mark I see that you gave the shotgun answer with a pointer to the the documentation, and I gave the rifle answer with the command but no pointer to documentation. For my own progress in learning, what other way is there besides \stemUp, \stemDown and \stemNeutral? I couldn't find anything else in my cursory perusal of the docs. Thanks, Mark On Wed, Aug 22, 2012 at 10:44 AM, eluze elu...@gmail.com wrote: fabio wrote how can i choose if the beam goes up or down? i'm not so good in english and i don't know how to explain better...! for now i write this there are different ways - e.g. http://lilypond.org/doc/v2.15/Documentation/notation-big-page#direction-and-placement or http://lilypond.org/doc/v2.15/Documentation/notation-big-page#single_002dstaff-polyphony hth Eluze -- View this message in context: http://lilypond.1069038.n5.nabble.com/problem-with-beam-tp131081p131087.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Different versions of LilyPond on Windows7
Arnold, Thanks for taking the time with the detailed explanation! Mark On Wed, Aug 22, 2012 at 6:36 AM, ArnoldTheresius arnold.we...@siemens.comwrote: Well, I'm using multiple versions of Lilypond on my Win7/64 Machine without Frescobaldi - but I'm compiling with command line only. The first version I installed in a user defined path without white space in its name and ending with the subfolder Lilypond. I renamed this installation directory by adding the version number to it, e.g. Lilypond-2-12-3. Then I could install the next version into the same originally used folder (Lilypond) without uninstalling the old one first. Again, after installation I renamed this, too (e.g. Lilypond-2-14-2). And so on ... (e.g. Lilypond-2-15-95). I each of the installation directory I added a batch file which (if not correct anymore) creates a symbolic link (command mklink) from my Lilypond directory to the desired version Lilypond-*-*-* (and removes the old link before). To switch between the versions, I have to execute the according BAT file first. Well, and there is no warrenty for the future, it may happen that some versions will not cooperate with this method. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Different-versions-of-LilyPond-on-Windows7-tp130849p131076.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem with beam
Ahh, of course! I had forgotten that one! Thanks! Mark On Thu, Aug 23, 2012 at 6:03 PM, Pavel Roskin pro...@gnu.org wrote: On Thu, 23 Aug 2012 17:43:40 -0400 Mark Mathias d8val...@gmail.com wrote: Eluze, I forgot to make sure that the lilypond-user list was in the To field when I replied as follows: Fabio, Try \stemUp or \stemDown. In English, the beam is the horizontal line, so you want to tell the stem (vertical) to move and the beam will follow. Best Wishes from a fellow bass player! Mark I see that you gave the shotgun answer with a pointer to the the documentation, and I gave the rifle answer with the command but no pointer to documentation. For my own progress in learning, what other way is there besides \stemUp, \stemDown and \stemNeutral? I couldn't find anything else in my cursory perusal of the docs. \voiceOne, \voiceTwo, \oneVoice Those would change not only stem directions, but also positions of slurs, dots and other elements. They are used for fitting more than one voice on a single staff. -- Regards, Pavel Roskin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Different versions of LilyPond on Windows7
The Wikipedia article on Frescobaldi says that it will work with more than one version of LilyPond installed. How do I install more than one version under Windows7? Is there something special needed in Frescobaldi as well to make it call the version with which I'm working? Thanks! Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beaming override problem
It's not clear to me what response is needed from the bug squad on this at
this point. Colin, I'm passing the buck...
Mark
On Mon, Jun 25, 2012 at 4:35 AM, David Kastrup d...@gnu.org wrote:
Colin Hall colingh...@gmail.com writes:
On Mon, Jun 25, 2012 at 07:15:53AM +0200, David Kastrup wrote:
Colin Hall colingh...@gmail.com writes:
On Mon, Jun 25, 2012 at 12:38:34AM +0200, David Kastrup wrote:
Nick Payne nick.pa...@internode.on.net writes:
If I set beamExceptions to beam 32nd notes by fours in 4/4 time,
this
has the side effect of changing the beaming of 8th notes:
%=
\version 2.15.40
changeBeaming = \set beamExceptions =
#'((end . (((1 . 32) . (4 4 4 4 4 4 4 4)
\relative c'' {
c8 c c c c c c c
\repeat unfold 32 { c32 }
}
\relative c'' {
\changeBeaming
c8 c c c c c c c
\repeat unfold 32 { c32 }
}
%=
Thanks for the report, Nick.
I just checked the docs, Nick, and I agree with you that:
Beaming-rules is a scheme alist (or list of pairs) that indicates the
beam type and the grouping to be applied to beams containing notes
with a shortest duration of that beam type.
would lead me to expect that an exception that only mentions 32nds
would only apply to 32nds.
It does. But if he _replaces_ the existing list, previously entered
exceptions are cleared out.
Thanks, David, that makes it plain.
I've re-read the docs and here is my new understanding:
Common time has already established some exceptions to the beaming
rules, which is why Nick's first bar is beamed in groups of four 8th
notes in the first place.
Well, it may be problematic that we don't have a user-accessible way of
telling LilyPond please _add_ to the current exception list. To do
that, one would need separate lists for system exceptions and user
exceptions, and then one would also need a way to say please forget
the system exceptions. Ok, possibly in this case just explicitly
reentering the on-beat behavior for 8th notes would do.
I think the source of my confusion (and perhaps Nick's also) is that
the norm, to which we are creating an exception, is unclear.
He and I assumed that the normal behaviour is what Lilypond does if I
make no special statements about beaming whereas what normal actually
means is terminate a beam at the end of a beat.
The behaviour of Lilypond does agree with the documentation so there's
no bug here.
Setting/overriding whole lists when the default is non-empty is probably
not leading to the most convincing user interfaces.
--
David Kastrup
___
bug-lilypond mailing list
bug-lilyp...@gnu.org
https://lists.gnu.org/mailman/listinfo/bug-lilypond
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Volta + rehearsal mark?
Gentlemen, I enjoyed reading your exchange. I share your gratitude for the LilyPond community which is why I decided to join the Bug Squad on a trial basis several months ago, and, when I am able, to contribute financially to one of the developers. Part of my frustration with Finale over many years was the feeling of being lost in the dark with no one to help when something went wrong, coupled with the fact that every upgrade rendered my files useless to anyone with an older version of the program. Also, on a personal note, congratulations to you and your families for the baptisms. Tomorrow I celebrate the completion of another year of service in one of my church's music ensembles with my daughter (she leads the group) and *my* year-old grand-daughter! LilyPond has helped the group a lot! Mark On Sat, May 26, 2012 at 7:26 AM, Christ van Willegen cvwille...@gmail.comwrote: On Sat, May 26, 2012 at 11:04 AM, Philip Thomas philip.tho...@bluewin.ch wrote: Dear Christ, I just opened your email and have saved the attachment. I will find out in the coming hours whether it does indeed help in dealing with the problems that I'm encountering. Ok, good luck! But I wanted to say, now, how much I appreciate your digging it out. I guess you must be the user forum administrator or something like that, but even with good record keeping it must have taken quite some effort on your part to find something submitted 6 years ago. No problem at all! Since you quoted part of the original mail, I could type that into GMail's search box, and it came up with the original mail instantly ;-) And, I'm just a regular user, not an administrator _at all_. I am a comparative beginner, and I have been amazed at how ready the LilyPond community is to answer questions, even when asking them displays ignorance about the documentation. That's true, and kudos to all for: - Making LilyPond - Making LilyPond possible - Making LilyPond progress - Making docs (as a programmer, who hates making docs, I know how hard it is to describe anything at all, esp. if it needs to be read by humans ;-) ) - Replying on this nice mailing list - Etc - Etc In fact I do try to help myself as much as I can by researching the documentation and the forum, but there is a learning curve that one needs to persist in climbing, and I suspect most people (particularly non-programmer types) need some help from others in order to succeed. Yes, you need to - learn it, and - keep up with it I tend to be such a casual user (Oh, a song we're singing in the choir has been hand-written 20+ years ago, has been copied 30-ish times and can now hardly be read. Let me-re-engrave that...) this I almost always need to re-learn Lily to get it right :-( Well, I guess I need to make some base files to get started, then! Both you and, of course, Markus Schneider with his original post (even though I don't know whether he is still an active user), are generous sources of such help to me. No problem! Have a great weekend. You too! I'll be spending a large part of my weekend polishing up a special edition of a piece for the choir to sing at my baby grandson's baptism in a few weeks' time. At my own (girl's) baptism, me, my wife and 2 good friends sang a song as well. It gives such a nice personal touch to the baptism! Congrats on your baby grandson! I hope the attachment you sent will help me to sort out (most particularly) an ugly near-collision between volta brackets and the key signature, but even if it doesn't work, I already feel mightily heartened by your kindness. Thank you so much. Good luck, hope it helps! If not, perhaps other people on the list can look it over sometimes? Christ van Willegen ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem with articulate.ly
Dr. Chubb,
Your comment that an appoggiatura should only be one note seems to disagree
with the LilyPond documentation:
http://lilypond.org/doc/v2.15/Documentation/music-glossary/appoggiatura
From my point of view on the Bug Squad, this doesn't appear to be a bug
unless perhaps someone feels that the documentation should be revised
somehow.
Best Wishes,
Mark
Bug Squad
On Sun, Apr 29, 2012 at 6:26 PM, Peter Chubb peter.ch...@nicta.com.auwrote:
Nick == Nick Payne nick.pa...@internode.on.net writes:
Nick The example below builds without error and gives the output I
Nick want. However, if I include articulate.ly, then the output is
Nick garbaged even though I haven't used \unfoldRepeats \articulate,
Nick and I get the following warnings in the log:
That's because you have a two-note argument to \appogiature. Use
\grace instead --- an appogiatura should only be one note. Articulate
changes the default meaning of appoggiatura so the ornament steals
time from the principal note not the preceding note.
Nick /home/nick/lilypond/examples/test.ly:8:59: warning: already have
Nick a beam \times 4/6 { a32[( g) fis( g) \appoggiatura { fis16 [ g]
Nick } a32 g] } warning: cannot end slur warning: unterminated slur
--
Dr Peter Chubb peter.chubb AT
nicta.com.au
http://www.ssrg.nicta.com.au Software Systems Research
Group/NICTA
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Footnote documentation error
So... as far as the Bug Squad is concerned, are we still waiting for something or does this need to get added to the tracker? Thanks, Mark On Fri, Apr 20, 2012 at 1:52 AM, m...@apollinemike.com m...@apollinemike.com wrote: On Apr 20, 2012, at 7:40 AM, James wrote: Hello, On 20 April 2012 00:40, Nick Payne nick.pa...@internode.on.net wrote: The documentation at http://lilypond.org/doc/v2.15/Documentation/notation/creating-footnotesfor both automatic and manual footnotes says that the \footnote command must come *before* the grob to which the footnote is being attached. This doesn't seem to be the case. Here the \footnote commands are after the notes to which they are attached, and they work fine: I think this was to do with David's additional work on Mike's a few months ago when what he did changed the requirement from the original footnote document in earlier versions of 2.15. We did re-write much of the examples and obviously missed this. I actually think this has something to do with David's work on the parser (could be wrong...). This is the postfix variety of footnote, or the one that does not need to specify a grob and assigns the footnote to whatever grob is created by the first event that comes down the pipe. I'm actually amazed that it works, as the NoteHead is facultative - if you replaced it w/ Stem it'd do the same thing (meaning footnote the NoteHead). Cheers, MS ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: String Bass Notation
I'm a bass player who studied with Larry Hurst in the early 70s and a public school string teacher, so I've seen a lot of notation, but never what you are describing. The snap pizzicato has the line drawn vertically through the top of the circle only and the thumb symbol (a fingering indication --- very unlikely in the situation you describe) is a circle with the vertical line extending downward from the bottom. Both are implemented in LilyPond: c4\snappizzicato c\thumb HTH! Mark On Thu, Apr 19, 2012 at 1:48 PM, Tim Roberts t...@probo.com wrote: -Eluze wrote: Tim Roberts wrote: This is a hand-drawn score. I'm thinking that they probably meant snap pizzicato, and it was easier to draw the line all the way through than to stop part way through. Snap pizzicato would fit in the context, and I have found no source that shows the exact phi symbol. Have any of you string players seen that notation? sorry, I didn't find this score - am i missing something? No, I didn't attach an image because I didn't get a chance to grab a copy. I assumed my description would be sufficient... -- Tim Roberts, t...@probo.com Providenza Boekelheide, Inc. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Instrument Name in oddHeaderMarkup position
I would like to place the Instrument Name on the first page only in the
position occupied by the oddHeaderMarkup. LilyPond's convention for the
Instrument Name is to place it below the Title. This may be standard for
professional-level music, but educational orchestra music normally places
the Instrument Name in the upper left corner in large letters. Subsequent
pages usually abbreviate the name, often placing it in much smaller type
along with the page number.
So, I'd like to either use the oddHeaderMarkup command and turn off the
oddHeaderMarkup for following pages, or use a different command (\markup, I
assume) to accomplish the same result. The manual no doubt shows how to do
this, but the clues are not pulled together in one place that I can get to
work. Perhaps yet another example of a newbie wrestling LilyPond's enormous
power and complexity.
\version 2.15.35
\header {
title = Jesu, Joy of Man's Desiring
composer = J. S. Bach
instrument = Violin I %Where LilyPond normally puts it.
}
\paper {
oddHeaderMarkup = \markup { \fontsize #4 Violin I } %The way I'd like it,
but only on page 1.
}
\relative c' { c }
Thanks!
Mark
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Instrument Name in oddHeaderMarkup position
Thank you! This works beautifully, and now that I've seen it and re-read
the Custom layout for title blocks section (
http://lilypond.org/doc/v2.15/Documentation/notation/custom-headers-footers-and-titles),
it's clearer than it was. There is still a lot to learn for someone new to
programming!
Best Wishes,
Mark
On Wed, Apr 4, 2012 at 9:57 AM, Thomas Morley thomasmorle...@googlemail.com
wrote:
Am 4. April 2012 15:20 schrieb Mark Mathias d8val...@gmail.com:
I would like to place the Instrument Name on the first page only in the
position occupied by the oddHeaderMarkup. LilyPond's convention for the
Instrument Name is to place it below the Title. This may be standard for
professional-level music, but educational orchestra music normally places
the Instrument Name in the upper left corner in large letters. Subsequent
pages usually abbreviate the name, often placing it in much smaller type
along with the page number.
So, I'd like to either use the oddHeaderMarkup command and turn off the
oddHeaderMarkup for following pages, or use a different command
(\markup, I
assume) to accomplish the same result. The manual no doubt shows how to
do
this, but the clues are not pulled together in one place that I can get
to
work. Perhaps yet another example of a newbie wrestling LilyPond's
enormous
power and complexity.
Hi Mark,
perhaps you may want to try:
\version 2.15.35
\header {
title = Jesu, Joy of Man's Desiring
composer = J. S. Bach
myInstrument = Violin I
}
\paper {
oddHeaderMarkup = \markup
\fill-line {
\on-the-fly #not-first-page \fromproperty #'header:myInstrument
\on-the-fly #print-page-number-check-first \fromproperty
#'page:page-number-string
}
evenHeaderMarkup = \markup
\fill-line {
\on-the-fly #print-page-number-check-first \fromproperty
#'page:page-number-string
\on-the-fly #not-first-page \fromproperty #'header:myInstrument
}
bookTitleMarkup = \markup {
\column {
\box { \pad-markup #1 \fromproperty
#'header:myInstrument }
\bookTitleMarkup
}
}
}
\relative c' { \repeat unfold 50 { c'1 \break } }
Please note:
I newly introduced myInstrument into the header to avoid a complete
new-definition of bookTitleMarkup.
But now you can't use the old `instrument'-variable any more. If you
do so, a second `instrument'-markup will be printed.
HTH,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
upbow above fermata?
Putting an upbow above a fermata seems right to me, but the program
automatically puts the fermata on top. I've read the manuals until I'm blue
in the face, experimented numerous times, and still can't figure out how to
change it. Help will be greatly appreciated.
\relative c' { f2\fermata\upbow }
Thanks!
Mark
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: upbow above fermata?
Kieren,
Thank you! It wasn't that I couldn't find the material. In fact, I'd read
it several times, but (as is often the case for me with LilyPond) I still
have a lot to learn about how to assemble just the right pieces of
information in just the right order or syntax or grammar or whatever it is
that I still don't get so that it controls the output for me.
Best Wishes,
Mark
On Tue, Apr 3, 2012 at 11:07 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi Mark,
\version 2.15.32
\relative c'
{
f2 \fermata \upbow
f2 -\tweak #'outside-staff-priority #100 -\fermata -\tweak
#'outside-staff-priority #1000 -\upbow
}
I've read the manuals until I'm blue in the face
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Placement-of-objects#Placement-of-objects
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Outside_002dstaff-objects#Outside_002dstaff-objects
What would have made these easier for you to find?
Best regards,
Kieren.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: partcombine - whole note : slash on grace note
(1) Try altering your TBk variable to not include the tied whole note, then
add the whole note to one Voice and add a space instead of a whole note to
the other Voice.
(2) Someone else will have to help you with your second question.
May I suggest that you carve your sample down to a Very Tiny Example? It
will make it easier for someone to help you.
Best Wishes,
Mark
On Tue, Apr 3, 2012 at 11:50 PM, MING TSANG tsan...@rogers.com wrote:
Two questions:
(1) how can I have partcombine works on whole note - refer to bar #6 of
png file?
(2) how can I have slash on the grace notes beam - refer to piano RH - bar
#4?
Appreciate the help.
snippet
\version 2.14.2
\include english.ly
#(define (rest-score r)
(let ((score 0)
(yoff (ly:grob-property-data r 'Y-offset))
(sp (ly:grob-property-data r 'staff-position)))
(if (number? yoff)
(set! score (+ score 2))
(if (eq? yoff 'calculation-in-progress)
(set! score (- score 3
(and (number? sp)
(= 0 2 sp)
(set! score (+ score 2))
(set! score (- score (abs (- 1 sp)
score))
#(define (merge-rests-on-positioning grob)
(let* ((can-merge #f)
(elts (ly:grob-object grob 'elements))
(num-elts (and (ly:grob-array? elts)
(ly:grob-array-length elts)))
(two-voice? (= num-elts 2)))
(if two-voice?
(let* ((v1-grob (ly:grob-array-ref elts 0))
(v2-grob (ly:grob-array-ref elts 1))
(v1-rest (ly:grob-object v1-grob 'rest))
(v2-rest (ly:grob-object v2-grob 'rest)))
(and
(ly:grob? v1-rest)
(ly:grob? v2-rest)
(let* ((v1-duration-log (ly:grob-property v1-rest 'duration-log))
(v2-duration-log (ly:grob-property v2-rest 'duration-log))
(v1-dot (ly:grob-object v1-rest 'dot))
(v2-dot (ly:grob-object v2-rest 'dot))
(v1-dot-count (and (ly:grob? v1-dot)
(ly:grob-property v1-dot 'dot-count -1)))
(v2-dot-count (and (ly:grob? v2-dot)
(ly:grob-property v2-dot 'dot-count -1
(set! can-merge
(and
(number? v1-duration-log)
(number? v2-duration-log)
(= v1-duration-log v2-duration-log)
(eq? v1-dot-count v2-dot-count)))
(if can-merge
;; keep the rest that looks best:
(let* ((keep-v1? (= (rest-score v1-rest)
(rest-score v2-rest)))
(rest-to-keep (if keep-v1? v1-rest v2-rest))
(dot-to-kill (if keep-v1? v2-dot v1-dot)))
;; uncomment if you're curious of which rest was chosen:
;;(ly:grob-set-property! v1-rest 'color green)
;;(ly:grob-set-property! v2-rest 'color blue)
(ly:grob-suicide! (if keep-v1? v2-rest v1-rest))
(if (ly:grob? dot-to-kill)
(ly:grob-suicide! dot-to-kill))
(ly:grob-set-property! rest-to-keep 'direction 0)
(ly:rest::y-offset-callback rest-to-keep)))
(if can-merge
#t
(ly:rest-collision::calc-positioning-done grob
global = {\key c\major \time 4/4 \tempo 4 = 63}
TTj = \relative c {
%{TT61-62%} ef2 r8. bf16 ef8 ef8 | ef4( c4 d8) d16 d16 b8 b8 |
%{TT63 %} c2~ c2 |
}
BBj = \relative c {
%{BB61-62%} bf2 r8. g16 g8 g8 | af2( g8) g16 g16 g8 g8 |
%{BB63 %} c2( c2) |
}
%--
TBk = \relative c {
%{TB64 %} r2 r4 ef8 d16 ef(~ |
%{TB65-66%} ef4~ ef16 f16) g8 f4. af8 | g1~ | g1
}
PianoRH = \relative c' { \global
%{rh61 %} ef g bf4~ q8 g bf ef g16 af ef' af16 bf ef bf'8. ef16
ef g bf ef8 d g bf d8
%{rh62 %} c ef af c4 c,16 g16 af16 c16 f, a c d4 d' f d'8 d g d'8
%{rh63 %} { g c ef4~ q4 af ef'2 }\\{ ef4~ ef8 ef16 r8 af,8 c~ g'8
c f8 }
%{rh64 %} { r8 bf''16 af16 ef16 df16 bf16 af16 ef8[ \grace{ bf16[ ef16]
} bf8] ef, af ef'4 }\\{ f bf ef2. s4 }
%{rh65 %} g bf ef2\stemUp af c f2
%{rh66 %} g bf ef g2 c ef f af2 r1
}
%--
PianoLH = \relative c { \global \clef bass
%{lh61 %} { r16 bf16 ef16 f16 s2 r16 ef16 bf'8 }\\{ ef,,4 g'8 ef bf'
ef16 f f'16 g bf ef g4 g,4 }
%{lh62 %} { s4 af, af'4 g g'4 s4 }\\{ af' ef' c'4\arpeggio s2 g
d' b'4\arpeggio }
%{lh63 %} { r16 g16 c16 d16 ef16 g16 c8 f, c'2 }\\{c,2 r4 c'4 }
%{lh64 %} df, af'2. cf gf'4_-
%{lh65 %} { bf'2 bf2 }\\{ bf,4 bf4 bf4 bf4 }
%{lh66 %} { bf'2 bf2 }\\{ bf,4 bf4 bf4 bf4 } r1
}
% SA_TB seperate + piano staff
% {
\score {
\new GrandStaff = GrandStaff_score
\new ChoirStaff
\new Staff \with { \override RestCollision #'positioning-done =
#merge-rests-on-positioning
}
\clef bass
\global \partcombine
\new Voice = Tenor {
\voiceOne { \TTj \TBk }}
\new Voice = Bass {
\voiceTwo { \BBj \TBk }}
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = RH { \global \PianoRH }
\new Staff = LH { \global \clef bass \PianoLH }
\layout { indent = #'0
\context { \RemoveEmptyStaffContext }
\context {
\Staff
\override TimeSignature #'style = #'()
}
}
\midi {
\context { }
\context { \Staff \remove Dynamic_performer }
}
}
end
Blessing in+,
Ming.
___
lilypond-user mailing list
lilypond-user@gnu.org
Re: partcombine - whole note : slash on grace note
Sorry, meant to include this:
%{TB65-66%} ef4~ ef16 f16) g8 f4. af8 | %new TBk doesn't have the whole
note.
\new Voice = Tenor {
\voiceOne { \TTj \TBk g1~ | g1 } }
\new Voice = Bass {
\voiceTwo { \BBj \TBk s1~ | s1 } }
On Wed, Apr 4, 2012 at 1:29 AM, Mark Mathias d8val...@gmail.com wrote:
(1) Try altering your TBk variable to not include the tied whole note,
then add the whole note to one Voice and add a space instead of a whole
note to the other Voice.
(2) Someone else will have to help you with your second question.
May I suggest that you carve your sample down to a Very Tiny Example? It
will make it easier for someone to help you.
Best Wishes,
Mark
On Tue, Apr 3, 2012 at 11:50 PM, MING TSANG tsan...@rogers.com wrote:
Two questions:
(1) how can I have partcombine works on whole note - refer to bar #6 of
png file?
(2) how can I have slash on the grace notes beam - refer to piano RH -
bar #4?
Appreciate the help.
snippet
\version 2.14.2
\include english.ly
#(define (rest-score r)
(let ((score 0)
(yoff (ly:grob-property-data r 'Y-offset))
(sp (ly:grob-property-data r 'staff-position)))
(if (number? yoff)
(set! score (+ score 2))
(if (eq? yoff 'calculation-in-progress)
(set! score (- score 3
(and (number? sp)
(= 0 2 sp)
(set! score (+ score 2))
(set! score (- score (abs (- 1 sp)
score))
#(define (merge-rests-on-positioning grob)
(let* ((can-merge #f)
(elts (ly:grob-object grob 'elements))
(num-elts (and (ly:grob-array? elts)
(ly:grob-array-length elts)))
(two-voice? (= num-elts 2)))
(if two-voice?
(let* ((v1-grob (ly:grob-array-ref elts 0))
(v2-grob (ly:grob-array-ref elts 1))
(v1-rest (ly:grob-object v1-grob 'rest))
(v2-rest (ly:grob-object v2-grob 'rest)))
(and
(ly:grob? v1-rest)
(ly:grob? v2-rest)
(let* ((v1-duration-log (ly:grob-property v1-rest 'duration-log))
(v2-duration-log (ly:grob-property v2-rest 'duration-log))
(v1-dot (ly:grob-object v1-rest 'dot))
(v2-dot (ly:grob-object v2-rest 'dot))
(v1-dot-count (and (ly:grob? v1-dot)
(ly:grob-property v1-dot 'dot-count -1)))
(v2-dot-count (and (ly:grob? v2-dot)
(ly:grob-property v2-dot 'dot-count -1
(set! can-merge
(and
(number? v1-duration-log)
(number? v2-duration-log)
(= v1-duration-log v2-duration-log)
(eq? v1-dot-count v2-dot-count)))
(if can-merge
;; keep the rest that looks best:
(let* ((keep-v1? (= (rest-score v1-rest)
(rest-score v2-rest)))
(rest-to-keep (if keep-v1? v1-rest v2-rest))
(dot-to-kill (if keep-v1? v2-dot v1-dot)))
;; uncomment if you're curious of which rest was chosen:
;;(ly:grob-set-property! v1-rest 'color green)
;;(ly:grob-set-property! v2-rest 'color blue)
(ly:grob-suicide! (if keep-v1? v2-rest v1-rest))
(if (ly:grob? dot-to-kill)
(ly:grob-suicide! dot-to-kill))
(ly:grob-set-property! rest-to-keep 'direction 0)
(ly:rest::y-offset-callback rest-to-keep)))
(if can-merge
#t
(ly:rest-collision::calc-positioning-done grob
global = {\key c\major \time 4/4 \tempo 4 = 63}
TTj = \relative c {
%{TT61-62%} ef2 r8. bf16 ef8 ef8 | ef4( c4 d8) d16 d16 b8 b8 |
%{TT63 %} c2~ c2 |
}
BBj = \relative c {
%{BB61-62%} bf2 r8. g16 g8 g8 | af2( g8) g16 g16 g8 g8 |
%{BB63 %} c2( c2) |
}
%--
TBk = \relative c {
%{TB64 %} r2 r4 ef8 d16 ef(~ |
%{TB65-66%} ef4~ ef16 f16) g8 f4. af8 | g1~ | g1
}
PianoRH = \relative c' { \global
%{rh61 %} ef g bf4~ q8 g bf ef g16 af ef' af16 bf ef bf'8. ef16
ef g bf ef8 d g bf d8
%{rh62 %} c ef af c4 c,16 g16 af16 c16 f, a c d4 d' f d'8 d g d'8
%{rh63 %} { g c ef4~ q4 af ef'2 }\\{ ef4~ ef8 ef16 r8 af,8 c~ g'8
c f8 }
%{rh64 %} { r8 bf''16 af16 ef16 df16 bf16 af16 ef8[ \grace{ bf16[ ef16]
} bf8] ef, af ef'4 }\\{ f bf ef2. s4 }
%{rh65 %} g bf ef2\stemUp af c f2
%{rh66 %} g bf ef g2 c ef f af2 r1
}
%--
PianoLH = \relative c { \global \clef bass
%{lh61 %} { r16 bf16 ef16 f16 s2 r16 ef16 bf'8 }\\{ ef,,4 g'8 ef bf'
ef16 f f'16 g bf ef g4 g,4 }
%{lh62 %} { s4 af, af'4 g g'4 s4 }\\{ af' ef' c'4\arpeggio s2 g
d' b'4\arpeggio }
%{lh63 %} { r16 g16 c16 d16 ef16 g16 c8 f, c'2 }\\{c,2 r4 c'4 }
%{lh64 %} df, af'2. cf gf'4_-
%{lh65 %} { bf'2 bf2 }\\{ bf,4 bf4 bf4 bf4 }
%{lh66 %} { bf'2 bf2 }\\{ bf,4 bf4 bf4 bf4 } r1
}
% SA_TB seperate + piano staff
% {
\score {
\new GrandStaff = GrandStaff_score
\new ChoirStaff
\new Staff \with { \override RestCollision #'positioning-done =
#merge-rests-on-positioning
}
\clef bass
\global \partcombine
\new Voice = Tenor {
\voiceOne { \TTj \TBk }}
\new Voice = Bass {
\voiceTwo { \BBj \TBk }}
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = RH { \global \PianoRH }
\new Staff = LH { \global \clef bass \PianoLH }
\layout { indent = #'0
\context { \RemoveEmptyStaffContext
Bar Lines Disappear with Staff Line Count Change
Why do Bar Lines disappear when reducing the Staff Line count? I've tried
several alterations to the layout context for score, but don't get the
right results.
\version 2.15.33
\relative c'' {
\override Staff . StaffSymbol #'line-count = #1
b4 s r r
b b8 b b b s4
b s s s
}
Thanks!
Mark
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar Lines Disappear with Staff Line Count Change
Kieren, Fantastic! Thank you! Mark (Forgot to copy to the list first time...) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar Lines Disappear with Staff Line Count Change
Once again, thank you, to both of you! I learned TWO new things today! Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Using Development Versions, Introducing LilyPond to Others
I appreciate Xavier's suggestion that I move to 2.15. I have not used development versions of Lilypond because of the warning, If you have the slightest doubt... Well, as a non-programmer with a great deal to learn, I have a lot of doubt! :-) I notice that 2.16 is close to release, so I will take a chance and try 2.15.30. As I considered the move to 2.15, it triggered some thoughts in my mind on which I would appreciate some advice. I really love the freedom and flexibility of Lilypond, having come from Finale about a year ago. First, I teach a 12-week introductory lab class in music technology to high school students (both musicians and non-). The students determine their own focus for course content by choosing among Finale, ACID Pro, REASON and piano keyboarding skills. Also, everyone is required to pass the first six units of Alfred's Essentials of Music Theory. Since it is a fairly small lab class each students gets a good amount of individual instruction. Recently, I've spoken enthusiastically about Lilypond, not just to my students, but to anyone who will listen. So far, I've had no takers. Any thoughts on ways to get others interested in Lilypond would be welcome. For a young person with a love for music and the need to develop marketable skills, I can't think of a more enjoyable way to introduce how computer commands and programs work than by combining music-making and Lilypond. Sometimes it's hard to get the fish to bite even with the most delicious food right in front of their noses! Second, I noticed in Lilypond Help Us section that even someone like me might be useful in a way that might free up others with the advanced programming skills. Of the practical suggestions listed (Mailing List, Bug Reports, Documentation, Snippets), which would be the best place to start? Finally, since 2.14, LilyPondTool no longer works as it did and I haven't seen anything from Mr. Fodor about it for several months. Did I miss something? Is there a better way to work on a Lilypond file than jEdit with LilyPondTool? Also, please let me know if this isn't the best place or manner in which to address these issues. Thank you, Mark - Xavier wrote: It was tracked as issue #1563 , which was actually solved in 2.15.6. http://code.google.com/p/lilypond/issues/detail?id=1563 Mark, if you use the development version 2.15.30 it is actually fixed and you won't need my workaround anymore. You could also wait for the next stable release 2.16. Cheers, Xavier ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
octave shift on transpose
I really thought I understood the basic rules of note entry, but this has
surprised me:
\version 2.15.25
\relative c' { \repeat unfold 2 { d4^\markup \italic pizz. fis a b |
c b a fis | }
\transpose c f { d^\markup \italic pizz. fis a b |
c b a fis | }
}
Why does the c (transposed to f) jump down to a lower octave? I thought
\relative mode took care of this.
I fixed it by altering the c, but it goes against what I thought I'd
learned:
\transpose c f, { d fis a b |
c' b a fis | }
Thanks,
Mark
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using Development Versions, Introducing LilyPond to Others
Thanks! This is a great suggestion! I'll try it. Mark On Mon, Feb 20, 2012 at 2:13 PM, James Worlton jworl...@gmail.com wrote: On Feb 20, 2012, at 9:40 AM, Mark Mathias wrote: Finally, since 2.14, LilyPondTool no longer works as it did and I haven't seen anything from Mr. Fodor about it for several months. Did I miss something? Is there a better way to work on a Lilypond file than jEdit with LilyPondTool? I was using jEdit with LilyPond tool also and when it broke I went back to using the LilyPond editor for Mac (ancient PPC OS 10.4), until that broke with 2.15.27. It now works again with 2.15.30. It is not the easiest environment to work in, but it works. My main Lilyponding however has moved to Windows 7 with Frescobaldi. I love it. Frescobaldi is great, and contrary to jEdit Lilypond tool (which I also loved till they broke), is a dedicated Lilypond environment. So, depending on your OS, there are various options beyond jEdit. James Worlton -- God becomes known through men and women who know him: the road to him passes through those who have encountered him. ---Benedict XVI ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: octave shift on transpose
Ahhh! (lightbulb) Thank you!
Mark
On Feb 20, 2012 3:08 PM, James Worlton jworl...@gmail.com wrote:
On Feb 20, 2012, at 2:01 PM, Mark Mathias wrote:
I think I understand that part, but why, in this outlined blues bass
line, does output of the transposed version suddenly skip a major 7th
downward and then a major 7th back up?
Because the notes that follow the \transpose are part of the transpose
block.
According to the manual they become absolute mode in this case unless
enclosed in a relative block.
Try something like:
\transpose c f { \relative g { d fis a b | c b a fis } }
James Worlton
On Mon, Feb 20, 2012 at 2:55 PM, James Worlton jworl...@gmail.com
wrote:
On Feb 20, 2012, at 1:50 PM, Mark Mathias wrote:
I really thought I understood the basic rules of note entry, but this has
surprised me:
\version 2.15.25
\relative c' { \repeat unfold 2 { d4^\markup \italic pizz. fis a b |
c b a fis | }
\transpose c f { d^\markup \italic pizz. fis a b |
c b a fis | }
}
Why does the c (transposed to f) jump down to a lower octave? I
thought \relative mode took care of this.
I fixed it by altering the c, but it goes against what I thought I'd
learned:
\transpose c f, { d fis a b |
c' b a fis | }
Notation Manual section 1.1.2 under Transpose:
This means that musicexpr is transposed by the interval between the
pitches
frompitch and topitch: any note with pitch frompitch is changed to
topitch and
any other note is transposed by the same interval. Both pitches are
entered in
absolute mode.
Note that the frompitch and topitch are entered in absolute mode.
James Worlton
--
God becomes known through men and women who know him: the road to him
passes through those who have encountered him. ---Benedict XVI
bug transpose.pdf
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Leading Barline with Staff Size Increase
Xavier and Phil,
Thank you! The dratted Barline is gone! Also, I managed to fix the spacing
for the blanks below the staff before I
got your reply. The portion of code that worked is thus (sorry for the
large example --- not sure what is necessary vs. superfluous):
\layout {
\context {
\Lyrics
\override VerticalAxisGroup #'staff-affinity = ##f
\override VerticalAxisGroup #'staff-staff-spacing =
#'((basic-distance . 0)
(minimum-distance . 2)
(padding . 2))
}
\context {
\Staff
\override VerticalAxisGroup #'staff-staff-spacing =
#'((basic-distance . 10)
(minimum-distance . 2)
(padding . 2))
}
\context {
\Score
\remove System_start_delimiter_engraver
}
}
On Sat, Feb 18, 2012 at 6:51 AM, Phil Holmes m...@philholmes.net wrote:
- Original Message - From: Phil Holmes m...@philholmes.net
To: Xavier Scheuer x.sche...@gmail.com; Mark Mathias
markpmath...@gmail.com
Cc: lilypond-user@gnu.org
Sent: Saturday, February 18, 2012 10:51 AM
Subject: Re: Leading Barline with Staff Size Increase
- Original Message - From: Xavier Scheuer x.sche...@gmail.com
To: Mark Mathias markpmath...@gmail.com
Cc: lilypond-user@gnu.org
Sent: Saturday, February 18, 2012 10:19 AM
Subject: Re: Leading Barline with Staff Size Increase
On 18 February 2012 04:31, Mark Mathias markpmath...@gmail.com wrote:
Greetings List,
This is my first post. Hope I've followed protocol.
Yep, welcome.
If I follow the suggestion for increasing staff and symbol size, a
leading
bar line appears. I have tried a number of experiments to get rid of it,
only to reinforce my ignorance of the inner workings of Lilypond.
Looks like a bug to me.
Unless someone disagree I will report it as such on bug-lilypond.
I remember this coming up before, and the answer is that there is a
variable that makes start bar lines disappear when they're below a certain
size. Can't remember the details, but it must be in the archive somewhere!
Here it is:
http://comments.gmane.org/**gmane.comp.gnu.lilypond.bugs/**23687http://comments.gmane.org/gmane.comp.gnu.lilypond.bugs/23687
--
Phil Holmes
--
God becomes known through men and women who know him: the road to him
passes through those who have encountered him. ---Benedict XVI
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
