How to align object with far right edge of all kinds of barline?
I want to print a graphical object in the right margin that _just touches_ the
far right edge of the barline at the end of the staff line. I have been
experimenting with a postscript object included in a \mark \markup { }
expression as a RehearsalMark, with an adjustment of the break alignment
visibility. Vertical placement is not a problem, but I haven’t succeeded in
achieving precise horizontal placement that works for all kinds of barline.
The appearance is OK when the final barline on the line is a single barline,
but when there is a double or thin + thick barline, the object overlaps with
the barline. It appears that the default left alignment is to the _centre_ of
the overall barline width rather than to the _right edge_ of it. Having to fix
the horizontal placement separately for each kind of barline would work, of
course, but would be a pain in the butt, and may not work for all staff sizes.
I would prefer to find a general solution (including a fixed horizontal spacing
adjustment, if necessary) that works for _all_ kinds of barline.
It seemed to me that a solution that relies on the far right edge of the
barline ought to work, but I haven’t found any way of doing that from my
reading of the manuals.
Another possibility might be to align the object with the far right edge of the
staff itself (rather than of the barline at the end of the line) but I have not
found a way of doing that either.
Any suggestions as to how to go about looking for a solution would be greatly
appreciated.
Philip Thomas
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RE: tunefl and other web services
On Thu, 12 Jul 2012 at 18:37:00 +0200 David Kastrup d...@gnu.org wrote: The overall more convex shape of women lends itself better for smooth light gradients lending plasticity to a two-dimensional rendition. When aiming for a more abstract rather than an anatomical impression of beauty, the fair sex offers definite advantages. One can further enhance visual plasticity by working with large brushes and graduations of powder makeup. That does not work well with the knotted landscape of a handsome man. David shows uncharacteristically loose thinking here in ascribing the effect simply to convex shape. There are some other unspoken factors that are nonetheless essential to take into account. For example, I myself am decidedly convex to the tune of some tens of kilos, and I don't have much in the way of a knotted landscape. The word plasticity would be a less apt word to use in connection with my anatomical features than, say, doughiness. Any large brushes and powder used to enhance my image would be more akin to those used in a bakery to glaze pies and flour-dust loaves of bread. But as convex as I am, using my semi-naked image on a website would be likely to attract criminal sanctions -- not from me, but from the poor victims who felt aggrieved, if not visually assaulted, by the effect my image had on their psyches. So there's more to it than just convexity, I suspect. Whatever the missing parameters are, I am personally lacking in them. Not that I'm suggesting a more serious analysis would be all that productive. Anyway, I did once beat a dead horse for a while (I tried getting it to stand up again, as the first thought after it had collapsed with a sudden aorta rupture on the riding ground was a severe colic attack). A rather traumatic experience I would not wish on anybody. Now, here David's touch is more readily apparent: I didn't immediately know whether it was easier to believe him or not to. So I'll just have to wait to see whether in future posts he starts mentioning sleeping dogs that he has let lie, dead cats that he's swung by the tail, and so on. Anyway, my convex body was shaken by a good belly laugh when I read it. And yes, I admit that am prepared to take the horse story at face value, and I did feel sorry for the horse and it's rider, even while I was momentarily convulsed with laughter. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: tunefl and other web services
On Thursday 12 July 2012 David Kastrup wrote: The Debian ad goes to a bit more effort than depicting an arbitrary snapshot of a woman in a swimsuit. And I still don't see them pulling this off convincingly either. I can imagine, speaking for myself but not for St Thomas Aquinas, that many ways of pulling a bikini off -- assuming the wearer has agreed to that course of action -- might be convincing from at least some perspective. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Coda
Eluze elu...@gmail.com wrote: please be aware that the -\markup will only work in later 2.15 versions - you can use s1*0 here. David Kastrup d...@gnu.org wrote: Huh? -\markup has always worked from the time chord syntax has been introduced. The great conflict was just about whether it was a good idea to let users know about it. I read parts of the great controversy a while ago, as a comparative beginner, with some bemusement. Although a beginner, I found the need to hang \markup onto bits of nothing quite a few times, and tried using both s1*0 and . Maybe it's because I'm a singer, but chords don't seem sacrosanct to me, and looks like a less substantial event to my eye than does s1*0. The psychological effect of the more substantial looking s and 1 isn't somehow rendered nugatory by the 0. Also, as a singer, something about resonates with that wonderful piece of Victoriana, Arthur Sullivan's The Lost Chord, which for me, at least, adds a colorful meta-emphasis to the insubstantial nature of a . In my own mind (admittedly a quite lonely place, if not downright strange), I always mentally call the thing that the \markup is hung on a skyhook -- a most agreeable kind of device from any perspective -- whatever syntax is used to invoke it. I tried defining a variable that I acromyously called sh. One could of course retain the association of the variable with skyhook, but at the same time add some color it, with a stronger allusion to its essentially silent nature, by writing it as shh. I had daydreams about one or two letters in the Greek alphabet, not to mention the very skyhook-evoking inverted question mark (Unicode 00BF). In the particular context I was dealing with, I ended up wrestling with define-markup-command and losing the match badly. But I still find to have more intuitive emotional and syntactic appeal than s1*0. A more neutral symbol might be nice though. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Opening parentheses in lyrics don't appear
Philip Thomas wrote: Dear fellow-users, I'm working on a vocal piece in which some lyrics are in parentheses, but the opening parentheses don't appear in the output PDF file. The closing parentheses are fine. By way of example, here's a couple of bars from the piece: Phil Holmes wrote: You may like to check and eventually test David's work on http://code.google.com/p/lilypond/issues/detail?id=2598 -- Phil Holmes Thanks, developers, for addressing the matter -- and so quickly, at that. But the likes of me test it? Would that involve downloading a patch? Pretty scary. Some day maybe I'll get to that stage, but not just yet. For the moment I'm content to luxuriate in a state of grateful and lazy trust, and await v.2.16. :) Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transcribe notes
Peter Wannemacher wrote (13.06.2012 17:52): I would like to contribute to this cheat-sheet. I would be pleased to create ideas or comment on those of others. Excellent! I hope to make some sort of draft available in the next couple of weeks to get the ball rolling from my point of view. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: transcribe notes
On Wed, Jun 13, 2012 at 12:49:16AM +0200, Philip Thomas wrote: I'm inclined to try to knock together a draft expanded cheatsheet on my own account and float it (e.g. in PDF format) on the user list. On Wednesday 13 June 2012 at 01:10, Graham Percival wrote: ok. It won't become part of the lilypond documentation or the website, but that's not the end of the world. An informal cheatsheet like that could still be useful for whoever finds it on the mailing list. So far as I'm concerned, the possibility of a later proposal for formal incorporation in the documentation, if a revised informal cheatsheet found approval on the user mailing list, would remain open. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transcribe notes
On 13 June 2012 at 08:53, Janek Warchoł wrote: As for mentoring, i could help you a bit, but not very much. And i cannot promise anything since i am really busy for the next month :( If you find the CG hard, it may be wise to wait until things get better organised. I don't think I'll need technical mentoring about gits and stuff for a while. I'll first see what I can produce in lay person's format and discover whether the substance prompts any interest from the user list. And thank you for your kind words! I have received help from people on this list on a number of topics connected with music input. They are people who not only love and know a lot about LilyPond but who are kind and helpful when confronted with (even dumb beginners') questions. You are one of them. Thanks tons! Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: lilypond-user Digest, Vol 115, Issue 58
Graham Percival wrote: I cannot in good conscience encourage anybody to become involved with lilypond development at the present time unless they have a mentor. David Kastrup wrote: I would have no qualms encouraging people into trying to get involved. They can expect some friction, naturally, work they do unnecessarily. That's a possible source of frustration. It can be minimized by asking for feedback. Now if things are as bad as to make 80% give up eventually, it means that 20% eventually manage to contribute. 20% is more than the 0% we get following your recommendations. Graham Percival wrote: That's because you are an excellent programmer, mathematician, and all- round technical guy who would have no trouble learning git if you didn't know it already. I am not -- at best I'd say that I'm a good programmer, almost competent mathematician, and passable technical guy. So I have a great deal of empathy for people who have difficulty with those. More to the point, I have experience mentoring over 20 people for lilypond doc work. I *know* that people find it difficult. I know that people find it difficult even when somebody else takes care of all the git stuff for them! If you want me to listen to anybody who says oh, there's some friction, but just tell them to jump in, then mentor at least 5 people who stick around for at least 3 months. David Kastrup wrote: Now if things are as bad as to make 80% give up eventually, it means that 20% eventually manage to contribute. Graham Percival wrote: At the karma cost of wasting the time and effort of the 80%. I'm not willing to pay that cost -- especially when we could cut that in half with 10-20 hours of prep work. [...] I want to get the reputation of treating lilypond volunteers well, since that will encourage more people to volunteer. By discouraging people from having a hard time now, I'm gambling on a long-term benefit in that when the CG is better and we actively recruit volunteers, more people will step up. I wasn't expecting this to be a tension-free exercise, especially having followed some other recent threads with interest. Nor am I going to deflate if an expanded cheatsheet doesn't materialize or doesn't attract any interest. I'm not especially tough-skinned, but I have some time on my hands and the challenge appeals to me. Equally, however, I don't feel inclined, at least at present, to dive into what for me would be the LilySwamp of Texinfo, Lilydev and git. What I would like to attempt, for my part, is to make some contribution from the perspective of a (comparative but not utter beginner) user of the non-programmer variety, and it seems to me that expanding and improving the content of a cheatsheet might be both useful and within my capacity to achieve. While Graham and David may not see eye-to-eye on some questions of approach and how best to manage user contributions, I don't feel discouraged by what either of them has said so far as my working on such a task is concerned, so I intend to just do it, keeping my aims fairly modest, and see what the reaction is, if any, to the result. I don't think I need any technical mentoring at this stage, although I'll definitely be pleased to get feedback -- from anyone -- on drafts. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transcribe notes
Blast! Resubmitted with apologies -- sent this a short while ago with an inept subject heading. Sorry, Philip _ Graham Percival wrote: I cannot in good conscience encourage anybody to become involved with lilypond development at the present time unless they have a mentor. David Kastrup wrote: I would have no qualms encouraging people into trying to get involved. They can expect some friction, naturally, work they do unnecessarily. That's a possible source of frustration. It can be minimized by asking for feedback. Now if things are as bad as to make 80% give up eventually, it means that 20% eventually manage to contribute. 20% is more than the 0% we get following your recommendations. Graham Percival wrote: That's because you are an excellent programmer, mathematician, and all-round technical guy who would have no trouble learning git if you didn't know it already. I am not -- at best I'd say that I'm a good programmer, almost competent mathematician, and passable technical guy. So I have a great deal of empathy for people who have difficulty with those. More to the point, I have experience mentoring over 20 people for lilypond doc work. I *know* that people find it difficult. I know that people find it difficult even when somebody else takes care of all the git stuff for them! If you want me to listen to anybody who says oh, there's some friction, but just tell them to jump in, then mentor at least 5 people who stick around for at least 3 months. David Kastrup wrote: Now if things are as bad as to make 80% give up eventually, it means that 20% eventually manage to contribute. Graham Percival wrote: At the karma cost of wasting the time and effort of the 80%. I'm not willing to pay that cost -- especially when we could cut that in half with 10-20 hours of prep work. [...] I want to get the reputation of treating lilypond volunteers well, since that will encourage more people to volunteer. By discouraging people from having a hard time now, I'm gambling on a long- term benefit in that when the CG is better and we actively recruit volunteers, more people will step up. I wasn't expecting this to be a tension-free exercise, especially having followed some other recent threads with interest. Nor am I going to deflate if an expanded cheatsheet doesn't materialize or doesn't attract any interest. I'm not especially tough-skinned, but I have some time on my hands and the challenge appeals to me. Equally, however, I don't feel inclined, at least at present, to dive into what for me would be the LilySwamp of Texinfo, Lilydev and git. What I would like to attempt, for my part, is to make some contribution from the perspective of a (comparative but not utter beginner) user of the non-programmer variety, and it seems to me that expanding and improving the content of a cheatsheet might be both useful and within my capacity to achieve. While Graham and David may not see eye-to-eye on some questions of approach and how best to manage user contributions, I don't feel discouraged by what either of them has said so far as my working on such a task is concerned, so I intend to just do it, keeping my aims fairly modest, and see what the reaction is, if any, to the result. I don't think I need any technical mentoring at this stage, although I'll definitely be pleased to get feedback -- from anyone -- on drafts. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transcribe notes
On 13.06.2012 at 14:46, Colin Campbell wrote: I'd be willing to give you what help I can, Philip. My doc skills are rusty but I can usually get changes done, and if we get stumped, I can probably point you in a useful direction. Most of my help will likely be encouraging emails, but by the sound of your input so far, you probably won't need much more. Thanks a million, Colin. You've been added to my ever-growing list of kind sources of advice. I'll try not to overburden you. I hope to get a first draft done in a week or so. Cheers, Philip (also rather elder) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: transcribe notes
Janek Warcho? writes: I'm not sure. This is a music notation question: what's this?. Lily documentation aims to answer different kind of questions: how do i engrave this? and it assumes that the user knows what's what he wants. Jan Nieuwenhuizen writes: She wants a certain type of note. Chances are that she can find out which one it is by herself much easier when we have images of all notes available. Jan Phil Holmes Writes: It's not too hard to find elsewhere, TBH: http://en.wikipedia.org/wiki/Note_value I'm not convinced we need to turn the Lilypond documentation into a general musical tutor, glossary notwithstanding. I also don't think that the LilyPond documentation should seek to give answers to basic music notation questions like what is this note called? or what is a breve?, although the answers would mostly no doubt be available, somewhere or other, in the MG or elsewhere. The breve with double lines on each side is, of course, covered on NR page 40 (PDF version), which a search of NR for breve quickly shows. This particular question would probably be addressed adequately by adding a reference in the \breve and breve entries in the NR LilyPond Index to NR page 40. Ideally, it might also receive a mention (and an image) in the NR Cheat Sheet, which I found very useful when I first started using LilyPond. I remember finding some gaps in the Cheat Sheet as a new user. Might it be worth reviewing to see whether it could be expanded and improved without over-burdening it with detail? If it would help for me as a comparative beginner to do some work along those lines, I would be pleased to give it a try, if someone would let me know how to proceed. I should mention that I'm no programmer. (And I wouldn't be offended by a polite thanks, but no thanks.) Not quite the same issue, but I routinely find that it's necessary to search both LM and NR for information which is fairly basic (and also, for that matter, not so basic, in LM as well as NR). Is a combined index, somewhere, for LM and NR feasible? Or even better, for _all_ of the documentation? I've found myself in IR and even Extending more often that I was expecting, when trying to tweak defaults and to write new music functions to abbreviate input code (and will maybe do so one day -- over the rainbow -- trying to write new markup commands). While on the question of how to find answers to questions oneself, which in fact I try hard to do before laying them at the feet of the kind and expert people who reply to questions addressed to the user list, I would, personally, find a grand version of all manuals combined in the one searchable PDF document very useful. It might take a while to download, and cross-links to other parts of the documentation might need adjustment for that format, but such a file would in general suit my needs very well. (In fact, I have already asked a friend to produce such a grand version for me, but I decided to wait till Lily 2.16 appears.) Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: transcribe notes
On 12 Jun 2012, at 20:46, Philip Thomas philip.tho...@bluewin.ch wrote: I remember finding some gaps in the Cheat Sheet as a new user. Might it be worth reviewing to see whether it could be expanded and improved without over-burdening it with detail? On 12 June 2012, at 21:58, James pkx1...@gmail.com wrote: http://www.edition-kainhofer.com/en/lilypond/details/2111/lilypond-cheatshe et.html Thanks, James. I wasn't aware of this product, and I have no reason to think that it's anything other than a good one. Just a few observations: -- A cheatsheet is already part of LilyPond's own documentation, and that seems proper to me. It's a tool for people who use LilyPond, particularly new users wanting to learn basic stuff. It should, if it's a useful tool, ideally be maintained and improved over time as part of LilyPond's own documentation. -- Such a cheatsheet ought to be available in electronic form, as well as being printer-friendly, to enable users to copy code for slightly less basic operations (assuming it is expanded in that direction), and to enable users to follow links (e.g. to common templates). -- The Kainhofer cheatsheet costs money (albeit not much money), but LilyPond and all its documentation, as we all know and greatly appreciate, comes free. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: transcribe notes
On Tue, Jun 12, 2012 at 9:46 PM, Philip Thomas philip.tho...@bluewin.ch wrote: I remember finding some gaps in the Cheat Sheet as a new user. Might it be worth reviewing to see whether it could be expanded and improved without over-burdening it with detail? If it would help for me as a comparative beginner to do some work along those lines, I would be pleased to give it a try, if someone would let me know how to proceed. I should mention that I'm no programmer. (And I wouldn't be offended by a polite thanks, but no thanks.) On Tuesday 12 June 2012 at 22:29, Janek Warchoł mailto:janek.lilyp...@gmail.com wrote: If you want to contribute to LilyPond, chapter quick start in Contributors' Guide (http://lilypond.org/doc/v2.15/Documentation/contributor-big-page#quick- start) tells you how to setup your working environment. Be aware that being an independent contributor (meaning that you don't have to rely on other people to do something for you) can be a bit of hassle, but it doesn't require specialistic knowledge (i.e. if you can use LilyPond without getting headache all the time, you are probably tech-savvy enough to manage to do this :)) Thanks, Janek. I'll look at the CG. But would an expanded cheatsheet would be useful? And is it the kind of thing that a comparative beginner would be likely to be able to make a useful contribution on? Just a quick reaction is all I'm seeking, not a considered judgment. I can wear the idea that I might fail or might produce something that doesn't find support. Yeah, I do get headaches using LilyPond -- but not all the time :) Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: transcribe notes
On Tuesday 12 June 2012 23:41, Graham Percival gra...@percival-music.ca wrote: I'm afraid that my first reaction is thanks, but no thanks. See below. Be warned that the CG is not actively maintained. I estimate that approximately 20% of the advice in the CG misleading, and 10% of the advice is harmful. It was not intended to be harmful, of course, but when policies and the technical layout of lilypond development change but the CG is not updated, the end result can be worse than giving no advice at all. I cannot in good conscience encourage anybody to become involved with lilypond development at the present time unless they have a mentor. It would, of course, be really nice if somebody like Janek offered to mentor you on this. (...) At the present time, I doubt that many beginners notice the cheatsheet at all, expanded or not. However, if the cheatsheet were improved, we could give it greater prominence, all the way to including it on the main doc page on the website (probably under the regular use heading). I could see that being very useful, actually. The more I think about it, the more this seems like an excellent way to get into lilypond development. But I still cannot honestly encourage you to do this unless you have an experienced mentor. Hi Graham, I get slightly mixed messages from what you say. If I read what you say last, first, I get the feeling that an expanded and improved cheatsheet might be worth some work to see whether it turned out to look useful. I know that in my first spasm of experimentation with LilyPond a few years ago, I kept a printout of the then cheatsheet close at hand (annotated increasingly with time, but long since lost) and I referred to it frequently. If that's correct, I guess your initial thanks, but no thanks is directed more to the possibility of my becoming a more serious contributor, with a virtual drive in my Windows environment to draft stuff with an unfamiliar text processor and create patches and use the git and stuff like that. I've had a look at the CG and, whether it's up-to-date or not, it looks pretty impenetrable to me at first sight, if not downright scary. I can't see me setting myself up as a contributor in that way at this stage, even with a mentor. I'm inclined to try to knock together a draft expanded cheatsheet on my own account and float it (e.g. in PDF format) on the user list. If it generates interest, I can do some further work on it. If Janek (who, I can see from the many posts of his that I've read, is patently good-natured) is prepared to keep an eye on what I produce, that would be great, and hopefully others would also have something to say. If it finds sufficient favor over time, I can then ask for advice as to whether and how to proceed with a more formal contribution. On the other hand, if my drafts just produce yawns and/or jeers, they can be consigned to the arid and boring realm of failed endeavors, and I'll smile serenely. Does my thinking seem to be in a sensible direction having regard to what you said? Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Opening parentheses in lyrics don't appear
Dear fellow-users,
I'm working on a vocal piece in which some lyrics are in parentheses, but
the opening parentheses don't appear in the output PDF file. The closing
parentheses are fine. By way of example, here's a couple of bars from the
piece:
\version 2.14.2
\relative c'
\new Voice = melody {
\time 12/8
fis2.( f |
a4.) a4 g8 g4 f8 f4. |
}
\new Lyrics \lyricsto melody {
blue __ (oo -- by -- doo -- by -- doo)
}
I have looked but haven't succeeded in finding a reference to this in the
documentation or on the forum, but at this stage I don't feel confident in
reporting it as a bug. Any advice would be appreciated. Apologies, as usual,
if I've missed an existing solution or explanation.
BTW, I know that I can solve the problem with a work-around, e.g. enclosing
the syllable concerned in quotes as (oo produces the correct result, but
it's not a very elegant solution, especially for repeated instances.
Cheers,
Philip
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RE: Opening parentheses in lyrics don't appear
-Original Message-
From: Phil Holmes [mailto:m...@philholmes.net]
Sent: Monday 11 June 2012 15:13
To: Philip Thomas; lilypond-user@gnu.org
Subject: Re: Opening parentheses in lyrics don't appear
- Original Message -
From: Philip Thomas philip.tho...@bluewin.ch
To: lilypond-user@gnu.org
Sent: Monday, June 11, 2012 2:04 PM
Subject: Opening parentheses in lyrics don't appear
Dear fellow-users,
I'm working on a vocal piece in which some lyrics are in parentheses,
but
the opening parentheses don't appear in the output PDF file. The
closing
parentheses are fine. By way of example, here's a couple of bars from
the
piece:
\version 2.14.2
\relative c'
\new Voice = melody {
\time 12/8
fis2.( f |
a4.) a4 g8 g4 f8 f4. |
}
\new Lyrics \lyricsto melody {
blue __ (oo -- by -- doo -- by -- doo)
}
I have looked but haven't succeeded in finding a reference to this in
the
documentation or on the forum, but at this stage I don't feel
confident in
reporting it as a bug. Any advice would be appreciated. Apologies, as
usual,
if I've missed an existing solution or explanation.
BTW, I know that I can solve the problem with a work-around, e.g.
enclosing
the syllable concerned in quotes as (oo produces the correct result,
but
it's not a very elegant solution, especially for repeated instances.
I found I had to use the (word solution - I use a regex in my
application
that creates lilypond code to do just this.
--
Phil Holmes
Thanks Phil,
Especially for a reply within minutes, if not mere seconds, from when I
posed the question!
Not quite the reply I was hoping for, but at least it suggests that I'm not
barking up the wrong tree completely.
(If I were game enough, I might admit that when I first glanced at your
reference to the (word solution, I took you to mean MS Word, which can be
quite handy, using macros, in working on .ly text files to do this sort of
task. But I'm not game enough.)
If other experienced users have encountered the same problem with opening
parentheses in lyrics, this seems to me to be significant enough to be
reported as a bug, but I'm not experienced in reporting real bugs as
distinct from apparent errors in the documentation. Would that be making a
mountain of a molehill?
Cheers, Philip
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RE: Possible multiple bugs, any way around?
Date: Fri, 8 Jun 2012 15:50:10 -0700 (PDT) From: Sami sami.ami...@gmail.com To: lilypond-user@gnu.org Subject: Re: Possible multiple bugs, any way around? Message-ID: 33983806.p...@talk.nabble.com Content-Type: text/plain; charset=us-ascii Only if there is unrepeated music played before the repeated sections. Otherwise putting in any more elements than are necessary can cause unnecessary visual clutter. Ask me how I know. ;-) Look at most jazz lead sheets, there is usually no equivalent of \bar |: at the start or \bar :| at the end. A prime exception is some lead sheets where the form is truncated with repeats so that it stays on a single page (e.g., Waltz For Debby in the old illegal Real Books, which has nested repeats to negotiate). But most standards start with no repeat glyph and end with the equivalent of \bar |. yet everyone knows to repeat the forms as needed. Tim I got this habit working with big bands. They don't use them there often, but I wish they did. I have a small of markers at hand to highlight repeats, key changes, tempo changes, the most notable dynamics, segnos, codas etc, and I always wanted to highlight the beginning and ending of a repeated section, to avoid on the job mistakes, esp. if I had to sightread hard material on stage. So, I grew to like them. It forms an nice little entity there for my eyes, start here, finish there... Hi Sami, I'm in the camp, with you, that prefers this particular bit of clutter. An end repeat barline makes my poor underworked neurons look feverishly for the begin repeat barline, and if it doesn't leap out at me, I'm in trouble. But I mostly sing more classical stuff. Jazz players live lives replete with repeats, and will have more acute reflexes than mine. To insert a repeat barline at the very beginning, however, there is a snippet on exactly this point in the Notation Reference in section 1.4.1 Long repeats under the heading Manual repeat marks (see page 130 in the PDF version of the Notation reference, or see the web version at: http://www.lilypond.org/doc/v2.14/Documentation/notation/long-repeats#manual -repeat-marks The snippet is headed Printing a repeat sign at the beginning of a piece and can be found under that heading in the web version or at page 132 in the PDF version. HTH. Adjustment of the ordering of these symbols is possible, but as I discovered recently it's not one for beginners to do anything fancy with. It will get you into the wonderful world of so-called break alignment, meaning the ordering of various musical symbols (clefs, time signatures, etc., as well as barlines) before and after line breaks. In fact, however, the topic covers the ordering of those elements in the middle of lines as well (i.e. where there is no break). If you want to pursue some of the possibilities, see the Internals Reference at section 3.1.22 BreakAlignment and other areas cross-referred to from there. It is not a totally impenetrable topic, but as a not-much-more-advanced beginner than you, I personally found it rather a jigsaw puzzle. I never did find out what a vector is, or how to understand, successfully manipulate, or vary the number 3 following make-vector in the snippet. However, I did eventually manage to put together some perfectly sound (I hope) code which had the effect of ending a line with a new time signature _following_ a _double_ barline, followed immediately on the next line with the time signature _preceding_ a _begin repeat_ barline (as it should under what I understand to be the accepted musical convention, although unfortunately not in Lily's default). This involved the elapse of many hours, the consumption of certain beverages in some quantity, and the uttering of some very colorful language. I felt good at the end of it, though. :) Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Opening parentheses in lyrics don't appear
Phil Holmes m...@philholmes.net wrote (11 Jun 2012 14:46:31):
It was mentioned in earlier emails (as in lots of years ago) as a possible
bug, since you can't have slurs in lyrics.
--
Aha. Not a solution, but I now have a better feel for the problem.
--
I think I'll send a report to
the bugs group.
I think it would be good to have a simple solution for something which must
arise reasonably often, but I'm most certainly no developer.
Jan-Peter Voigt jp.vo...@gmx.de wrote (Jun 2012 15:48:45):
you might use markup-lists. In markups, the parens are typeset:
--snip--
\version 2.15.40
% should run in 2.14
% define a music-function, to convert a markup-list to a list of
LyricEvents
lyricmarkup = #(define-music-function (parser location mup)(markup-list?)
(make-music 'SequentialMusic
'elements (map
(lambda (syl) (make-music 'LyricEvent
'text syl
'duration (ly:make-duration 2 0 1 1)))
mup)))
% a test
\new Staff \new Voice = mel \relative c'' {
c4. b8 a4 cis
}
\new Lyrics \lyricsto mel
\lyricmode {
\lyricmarkup \markuplist { (oo bi doo) }
% override can't be inside markuplist!
\once \override LyricText #'self-alignment-X = #LEFT
didididididididididi
}
--snip--
But you can't use lyric-overrides inside the markup-list - so if you use
a lot them, this will not be helpful :-(
... and using \lyricmarkup \markuplist {} is a lot to type ...
But still, you might try it ;-)
Eluze elu...@gmail.com wrote (Jun 2012 06:57:36):
you can use text-replacements, see NR 3.3.3 Special characters. ASCII
aliases
it's described there how to add your own characters, e.g.
\paper {
#(add-text-replacements!
'(
(lparen; . ()))
}
I don't know if its really elegant!?
Many thanks Jan-Peter and Eluze. I think on balance that, unless and until a
more simple solution appears, I might as well stick to (word for the time
being.
Cheers, Phil
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Problem doing Scheme tutorial
Dear fellow-users, After failing to write what I thought should be a fairly simple define-music-function, I thought, this is it: Learn something about Scheme in a more structured way, old chap! One can only go on for so long relying on the (invariably kind and expert, and mostly very patient) advice from fellow users on this forum. I did what was told to me by the Extending manual: 1.1.1 Scheme sandbox The LilyPond installation includes the Guile implementation of Scheme. On most systems you can experiment in a Scheme sandbox by opening a terminal window and typing 'guile'. On some systems, notably Windows, you may need to set the environment variable GUILE_LOAD_PATH to the directory ../usr/shr/guile/1.8 in the LilyPond installation. For the full path to this directory see Section Other sources of information in Learning Manual. Alternatively, Windows users may simply choose 'Run' from the Start menu and enter 'guile'. Once the guile sandbox is running, you will receive a guile prompt: guile You can enter Scheme expressions at this prompt to experiment with Scheme. What I got, however, when I ran the Command Prompt and typing guile, was the following: ERROR: In procedure primitive-load-path: ERROR: Unable to find file ice-9/boot-9.scm in load path Can anyone help, please? I am running LilyPond 2.14.2 under Windows 7 64-bit (in case that's relevant). Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Music function for manual vertical placement of systems and staves
Dear fellow users,
I have managed to design some simple music functions, but I haven't
succeeded with this one.
The score (SATB choral) is short but has a certain complexity (a number of
repeated passages, pronunciation notes under lyrics, large markup text
appearing mid-score, etc.). After getting a lot of help on a number of
issues from the forum (thank you, Harm, in particular!), I wrangled
unsuccessfully with flexible vertical spacing, so I decided to position the
systems and staves manually. I fairly quickly got the result I wanted in
terms of appearance, after a little juggling, but now my file is cluttered
up with code like this:
\overrideProperty #Score.NonMusicalPaperColumn
#'line-break-system-details #'((Y-offset . 20)
(alignment-distances . (10 10 10)))
It seemed to me that a darling little music function should be able do the
trick, and hoped to get it to work with syntax something like this:
\SATBVert [SystemVerticalPosition] [SopToAltoStaves] [AltoToTenorStaves]
[TenorToBassStaves]
e.g. \SATBVert #20 #10 #10 #10
I tried to write a function along the following lines, but it didn't work:
SATBVert = #(define-music-function
(parser location sysvert StoA AtoT TtoB)
(number? number? number? number?)
#{
\overrideProperty #Score.NonMusicalPaperColumn
#'line-break-system-details
#'( (Y-offset . $sysvert)
(alignment-distances . ($StoA $AtoT $TtoB)))
#})
I'm pretty sure, from what I've read, that what I'm missing is type
predicates, but my tiny and inexperienced brain hasn't discovered or worked
out the syntax for how to include them. (I won't trouble you with
reproducing my failed experiments.) Or maybe there's something else wrong
that I haven't discovered.
If someone could point me in the right direction -- a relevant example would
be great -- I would be very grateful.
Cheers, Philip
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Re: Layout of staff systems and text blocks
2012/5/30 Philip Thomas philip.tho...@bluewin.ch: (...) The problem: How do I get the Background Notes to sit happily where I want them on page 3? (...) From: Thomas Morley [mailto:thomasmorle...@googlemail.com] Sent: Wednesday 30 May 2012 23:40 Hi Philip, how about this setup? It adds the Background Notes to the footer of page three. (...) The definition of 'third-page' could be changed to other page-numbers quite easily. HTH, Harm Hi Harm, Once again you have been incredibly kind and helpful. Since writing to the forum yesterday, I had been experimenting with an added Dynamics context to act as a kind of skyhook for the Background Notes. That succeeded in placing the Notes beneath the lyrics OK, but it wrecked the horizontal spacing of the previous staff system. Your solution is much more elegant, and it worked immediately on my score, with a couple of adjustments, e.g. to center the footer, including page numbers, on pages 2 and 3. (I followed your suggestion as to changing your 'third-page' definition separately for each page, which would have been a little tedious if there had been 100 pages; sometime I will learn how to define the footer for 'every-other-page'!) Thank you so much, anyway! Two problems remain: First, the two systems on the last page are now jammed together too close, although visually there seems to be plenty of space available. Can you suggest what \paper setting I should look at to fix that? Vertical spacing issues are not the easiest to resolve, I have found. There are scads of properties and it isn't altogether clear how they all work, individually and in combination. Second, can you suggest how to add a segue indication below the bass line lyrics? It would be placed at the end of, and below, the second system on page 3 -- i.e. above the Background Notes and to the right. It would seem to be more logical if it was anchored in the music or lyrics rather than as part of the footer. Thanks tons, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Lyrics hyphens - which glyph?
Can anyone tell me which glyph is used for (automatically inserted) lyrics hyphens? They seem, to my eye, to be wider and lower-placed than ordinary text hyphens. I would like to add them manually in certain circumstances and I want them to match. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics hyphens - which glyph?
From: Marek Klein [mailto:ma...@gregoriana.sk] Sent: Thursday 31 May 2012 13:08 To: Philip Thomas Cc: lilypond-user@gnu.org Subject: Re: Lyrics hyphens - which glyph? Hello, 2012/5/31 Philip Thomas philip.tho...@bluewin.ch Can anyone tell me which glyph is used for (automatically inserted) lyrics hyphens? They seem, to my eye, to be wider and lower-placed than ordinary text hyphens. I would like to add them manually in certain circumstances and I want them to match. I found this in archive: http://lists.gnu.org/archive/html/lilypond-user/2012-02/msg00816.html By Knut Petersen: Well, lilypond never uses the dash glyph for hyphenation of lyrics. Instead of a hyphen it puts a /draw_round_box into the output postscript code. I used \override LyricHyphen #'stencil = #ly:text-interface::print to tell lilypond to really generate a hyphen glyph instead of a centered round_box, but that hyphen will be printed at the start of the preceding syllable and thus needs a manual x-offset override if nobody knows a better way to handle the problem;-( HTH Marek Thanks tons, Marek. Not as simple as I'd hoped, but it's good to have an answer -- and amazingly quickly, at that. So it will be a matter for experimentation and/or compromise, it seems. My apologies for failing to find the answer myself on the forum. All the best, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics hyphens - which glyph?
From: Marek Klein [mailto:ma...@gregoriana.sk] Hello, 2012/5/31 Philip Thomas philip.tho...@bluewin.ch Can anyone tell me which glyph is used for (automatically inserted) lyrics hyphens? They seem, to my eye, to be wider and lower-placed than ordinary text hyphens. I would like to add them manually in certain circumstances and I want them to match. I found this in archive: http://lists.gnu.org/archive/html/lilypond-user/2012-02/msg00816.html By Knut Petersen: Well, lilypond never uses the dash glyph for hyphenation of lyrics. Instead of a hyphen it puts a /draw_round_box into the output postscript code. I used \override LyricHyphen #'stencil = #ly:text-interface::print to tell lilypond to really generate a hyphen glyph instead of a centered round_box, but that hyphen will be printed at the start of the preceding syllable and thus needs a manual x-offset override if nobody knows a better way to handle the problem;-( HTH Marek From: Philip Thomas [mailto:philip.tho...@bluewin.ch] Thanks tons, Marek. Not as simple as I'd hoped, but it's good to have an answer -- and amazingly quickly, at that. So it will be a matter for experimentation and/or compromise, it seems. My apologies for failing to find the answer myself on the forum. All the best, Philip Sorry, Marek -- it's me again. I'm really a novice, and it's time for confession: I don't know how to use the code \override LyricHyphen #'stencil = #ly:text-interface::print to actually produce a glyph in the compiled score. My reading and experimentation didn't get me anywhere on the point. I want to produce a hyphen manually which is in fact identical in appearance to a lyrics hyphen. It seems that I'm not quite ready for compromise, after all. :) If anyone can enlighten me, I'd be very grateful. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Layout of staff systems and text blocks
Dear fellow users,
I am setting an SATB choral piece that runs to 9 systems, which include
several repeated passages, plus a larger-than-usual header (it contains the
text of the piece and a translation) and two other largish text blocks
(Background Notes plus Pronunciation Guide). The Header, Background Notes
and Pronunciation Guide each occupy about 1/3 page. The structure of the
music, with repeated passages, is such that the following groups of music
systems should each be visible together to the singers: systems 1+2, 3+4+5,
6+7, 8+9.
Fitting the text and translation inside the header was a problem, but I
solved it by some head-scratching, hair-pulling and foul language, not to
mention searching the documentation and user forum archives. The result was
the construction of a 3-column markup which is included in the subsubtitle
field of the \header block, and it looks beautiful to my eye!
{\patSelfOnBack} :)
But back to the problem.
I wish to keep the printed version to four sheets (i.e. which can be printed
on both sides of an A3 sheet, then folded). The following arrangement is
readily implemented by the following LilyPond
blocks:
\header { }
\score { }
\markup { \BackgroundNotes \Pronunciation_Guide }
With suitable line breaks inserted, that results in:
Page 1: Header (about 1/3 page)
SATB system 1
SATB system 2
Page 2: SATB system 3
SATB system 4
SATB system 5
Page 3: SATB system 6
SATB system 7
SATB system 8
Page 4: SATB system 9
Background Notes (about 1/3 page)
Pronunciation Guide (about 1/3 page)
But that arrangement is not optimal, since it separates systems 8 and 9,
which contain repeated music, by a page turn.
The optimal layout for printing would be:
Page 1: (as above)
Page 2: (as above)
Page 3: SATB system 6
SATB system 7 (followed by a segue indication to emphasize that the
music doesn't stop at that point)
Background Notes (about 1/3 page)
Page 4: SATB system 8
SATB system 9
Pronunciation Guide (about 1/3 page)
The problem: How do I get the Background Notes to sit happily where I want
them on page 3? The following arrangement would work in a sense:
\header { }
\score { \sectionA }
\markup { \backgroundNotes }
\score { \sectionB }
\markup { \pronunciationGuide }
However, that option would require chopping up the \score. The music, in
each of the SATB parts, both notes and lyrics, would have to be split into
two sections, which would then need to be separately combined into SATB
staff systems. Not a very elegant solution, I thunk to myself, plus I didn't
know what it would do to the \midi output (although in this instance midi is
not of prime importance).
I tried adding the whole of the Background Notes, within the \score block,
as a \markup to a note or placeholder at an appropriate point in the Bass
part at the beginning of system 7 (since the Bass is the bottom line of the
system). But the compilation seemed to hang, I presume because of the size
of the \markup. And in any event, there's the problem of getting the
vertical spacing correct since the \markup wants to appear above the Bass
lyrics. So far, head-scratching, hair-pulling and foul language haven't
worked for me, and neither has consulting the documentation and forum
archives. (I should mention that learning LaTeX for the purpose didn't seem
to me like a very attractive option. It's enough of a challenge to learn
LilyPond plus rather more than a smattering of Scheme.)
Any suggestions for addressing the problem would be greatly and gratefully
received. Otherwise, I'll have to choose between chopping up the \score and
having a lousy page turn.
Cheers, Philip
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RE: Manual volta placement and invisible barline kills previous barline
On 21/5/2012 Philip Thomas wrote:
At any rate, my problem with the colliding volta bracket remains.
On 21 May 2012 Thomas Morley replied:
Perhaps you may want to try the code below, in which I used the break-
visibility-property to deal with a TimeSignature.
It's _very_ hackish and dirty. :)
\version 2.14.2
% DEFINE volta-related variables for use in score:
startVoltaOne = \set Score.repeatCommands = #'((volta 1.))
startVoltaTwo = \set Score.repeatCommands = #'((volta #f)(volta 2.)
end-repeat)
endVolta = \set Score.repeatCommands = #'((volta #f))
pointStencilTimeSignatureAtLineBegin = {
\once \override Score.TimeSignature #'stencil = #point-stencil
\once \override Score.TimeSignature #'break-visibility = #'#(#f #t #t)
\break
\time 4/4
}
\score { \relative c' {
\clef treble
\key g \major
\numericTimeSignature \time 4/4
c4 c4 c4 c4 | c4 c4 c4 c4 | c4 c4 c4 c4 |%1-3
c4 c4 c4 c4 | %4
\pointStencilTimeSignatureAtLineBegin
\startVoltaOne c4 c4 c4 c4 \endVolta | %5
\startVoltaTwo c4 c4 c4 c4 \endVolta | %6
c4 c4 c4 c4 | c4 c4 c4 c4 \bar |. %7-8
} }
HTH,
Harm
P.S. Please note that I changed your volta-related variables.
Thanks tons, Harm.
I pasted your code into my file, with variations to meet the particular
context, and got it to work in one place but not in another, where
repositioning always messed up the barline at the end of the previous line,
but in a different way from what I originally described. I'm very grateful
to you for the tweak that did work, and I'll keep experimenting on the one
that didn't.
But I want to try to understand what was going on so I can address problems
in the future. I searched the documentation, the user forum, and (with some
trepidation) all the .scm files. I couldn't find anything to explain
point-stencil, for example, let alone anything that would explain why your
hack worked. If it's not too much trouble, could you possibly try to explain
a little how it works?
In asking, could I mention a couple of other things.
I figured that a volta bracket (and/or a volta bracket spanner) must somehow
be told where to place itself -- at both the beginning and the end, but I
couldn't find how that is done. I dove into the break-align swamp but it
turned out to be more like quicksand. Although I couldn't find any
explanation of staff-bar, that seemed a likely candidate, but I got nowhere
trying to adjust the break-align-symbols or break-align-anchor properties of
VoltaBracket or VoltaBracketSpanner. For example, some trials that didn't
work included the following (the context is correctly Staff, I think, and
not Score, because I moved the Volta_engraver from the Score to Staff
context so that it would appear on each line in the vocal score):
\override Staff.VoltaBracketSpanner #'X-extent = #'(1 . -1)
\override Staff.VoltaBracketSpanner #'extra-X-extent = #'(1 . -1)
\override Staff.VoltaBracket #'extra-X-extent = #'(1 . -1)
\override Staff.VoltaBracket #'break-align-symbols = #'(clef)
\override Score.KeySignature #'break-align-anchor = #3
I haven't showed above all the permutations that I tried, but my conclusion
was that the grob-interface is by no means fully supported by the
VoltaBracket or VoltaBracketSpanner objects, and neither is any other
interface that I tried to use.
I also tried experimenting with extra-spacing-width of the components that
are in the break-align complex, but that got me nowhere too.
In fact the only thing that I was able to use successfully to adjust the
horizontal alignment of a volta bracket was:
\override Staff.VoltaBracket #'X-offset = #1
but then, of course, the end of the volta bracket moved to the right
together with the beginning, so I had a new collision on my hands.
I'm certainly not asking for a full explanation of all of these phenomena,
but I wanted at least to show that I have been trying to get a handle on
what is going on myself. And my basic problem still remains: how can I tweak
the horizontal alignment of volta brackets?
I must say that it feels a bit frustrating, after a while. I like using
LilyPond, but I wish it was a bit less of a challenge at times. The piece
I'm working on has repeats, but it is not in the nature of some avant-garde
monster that will inevitably be difficult to tame. While I greatly
appreciate the help of users on this forum -- including you -- it is
sometimes hard to escape the feeling that one can only get so far without
being a programmer.
Well, I haven't given up, but after all LilyPond is designed for
perfectionists (in terms of the appearance of the printed product), and I
don't want to produce my score with bloody collisions and/or ugly alignment
of such a mundane thing as a volta bracket!
Anyway, now that's off my chest, if you could possibly give me a brief
explanation of how on earth your hack works, and maybe some idea
Re: Volta + rehearsal mark?
Subject: Re: Volta + rehearsal mark? On Fri, May 25, 2012 at 4:07 PM, Philip Thomas philip.tho...@bluewin.ch wrote: I realize, of course, that the above is an old post, and it seems that Markus has not been active on the forum for a few years. I came across his post while searching for inspiration in addressing some problems with volta bracket alignment, and I hoped that Markus's attachment might be useful. However, what follows his signature in the post is a load of apparently meaningless characters. If this means that his attachment has gone with the wind, well that's just the way it is. On the other hand, if there is something elementary that I can do in order to see the attachment, then I would be most grateful to hear about it. On Fri, May 25, 2012 at 17:37, Christ van Willegen cvwille...@gmail.com wrote: Here's the original attachment. HTH! Christ van Willegen -- 09 F9 11 02 9D 74 E3 5B D8 41 56 C5 63 56 88 C0 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. 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. 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. 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. 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. Have a great weekend. 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. 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. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Volta + rehearsal mark?
Markus Schneider Wed, 19 Jul 2006 02:34:30 -0700 I attach a example file you may find useful with some functions and variables I use regarding volta bracket / rehearsal mark placement. Cheers, Markus Hi, I realize, of course, that the above is an old post, and it seems that Markus has not been active on the forum for a few years. I came across his post while searching for inspiration in addressing some problems with volta bracket alignment, and I hoped that Markus's attachment might be useful. However, what follows his signature in the post is a load of apparently meaningless characters. If this means that his attachment has gone with the wind, well that's just the way it is. On the other hand, if there is something elementary that I can do in order to see the attachment, then I would be most grateful to hear about it. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Manual volta placement and invisible barline kills previous barline
Hi fellow-users,
I don't know whether I have one joint problem or two separate ones. My
apologies for running them together in the same post if they are in reality
separate issues.
I'm putting together a vocal (choir) score in the key of G major which has
five repeated sections. I tried input using automatic repeats, but getting
that correctly coordinated between both music and the lyrics defeated me
(volta repeats starting in the middle of hyphenated words, etc.), so I opted
to insert manual volta brackets. That makes the midi output wrong, of
course, but that's not a bother in this case.
The manual volta brackets work fine in most places in the score, but there
is one point where it is critical to the score layout for a volta bracket to
start at the beginning of the line. I found that the volta bracket starts
too far left and gets forced into the sky by the F sharp in the key
signature. (See Example A in the mock-up input code below.)
Aha, I thought: try adding an invisible barline at the beginning of bar 5.
That works fine to position the volta bracket correctly, but it also makes
the barline at the end of bar 4 invisible also, even when I add a manual
single barline at the end of bar 4. (See Example B below.)
If anyone can help me (a) to solve my problem, but also, hopefully, (b) to
understand what is going wrong with the solution I tried, I would be very
grateful.
Cheers, Philip
___
% PROBLEM WITH MANUAL VOLTA PLACEMENT AND INVISIBLE BARLINE
\version 2.14.2
% DEFINE volta-related variables for use in score:
startVoltaOne = \set Score.repeatCommands = #'((volta 1.))
startVoltaTwo = \set Score.repeatCommands = #'((volta 2.))
endVolta = \set Score.repeatCommands = #'((volta #f))
\markup { \column {
EXAMPLE A - Volta bracket in bar 5 is badly positioned:
\null
} }
\score { \relative c' {
\clef treble
\key g \major
\numericTimeSignature \time 4/4
c4 c4 c4 c4 | c4 c4 c4 c4 | c4 c4 c4 c4 |%1-3
c4 c4 c4 c4 | \break %4
\startVoltaOne c4 c4 c4 c4 \endVolta \bar :| | %5
\startVoltaTwo c4 c4 c4 c4 \endVolta | %6
c4 c4 c4 c4 | c4 c4 c4 c4 \bar |. %7-8
} }
\markup { \column {
EXAMPLE B - Invisible barline inserted at beginning of bar 5 correctly
positions volta bracket,
but cruelly kills off barline at the end of bar 4:
\null
} }
\score { \relative c' {
\clef treble
\key g \major
\numericTimeSignature \time 4/4
c4 c4 c4 c4 | c4 c4 c4 c4 | c4 c4 c4 c4 |%1-3
c4 c4 c4 c4 \bar | | \break %4
\startVoltaOne \bar c4 c4 c4 c4 \endVolta \bar :| | %5
\startVoltaTwo c4 c4 c4 c4 \endVolta | %6
c4 c4 c4 c4 | c4 c4 c4 c4 \bar |. %7-8
} }
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Re:Manual volta placement and invisible barline kills previous barline
Aha, I thought: try adding an invisible barline at the beginning of bar 5. That works fine to position the volta bracket correctly, but it also makes the barline at the end of bar 4 invisible also, even when I add a manual single barline at the end of bar 4. (See Example B below.) URL:http://lilypond.org/doc/v2.15/Documentation/notation/bars#bar-numbers does explain break-visibility. David Kastrup Thanks, David. I hope I'm not missing the point. I have some understanding, I think, about the visibility of _bar numbers_ (for example, I realize that an invisible barline at the beginning of a piece will make the first bar number visible, if the break-visibility of bar numbers is set correctly). I also understand that overrides are available to make bar numbers visible or invisible depending on where they are located in relation to line breaks (that is, at the end, middle or beginning of the line). My problem, however (apart from that I first encountered, namely, the bad placement of the volta bracklet colliding with the key signature), was the disappearance of the _barline_ at the end of the preceding bar when I added an invisible barline at the beginning of the next line. I apologize if it should be readily apparent how what is said in the documentation you cite about visibility of bar numbers would be applicable to visibility of barlines in the circumstances I mentioned, but it wasn't apparent to me. For example, I can't find anything that tells me how adding an explicit invisible barline affects break-visibility properties of any explicit barline in the preceding bar or line. While I'm certainly not sure that I've properly understood the role of break-visibility in this, a quick check suggests to me that an invisible barline \bar when placed at the beginning of _any_ bar appears to make the previous barline invisible even if it has been spelt out as \bar |. At any rate, my problem with the colliding volta bracket remains. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Defining a new markup command (e.g. \lower by a specified amount)
I am having great difficulty getting the hang of defining new markup commands.
The examples given in the Extending
manual in section 2.2.3 New markup command definition are comprehensible to
me in their own right, but they aren't
exactly simple examples, and I have so far failed to adapt definitions found in
the scm/define-markup-commands.scm file
to make my own new commands.
The particular problem that I'm trying to get to grips with at the moment is
this:
I
want to use the \lower command at about 15 places in text in a \markup block
(i.e. outside the \score block). The
\lower command works just fine to get the spacing I want between sections of
text (whereas both \override #'(baseline-
skip . xx) and \vspace #xx have proved quirky). The problem is that I don't at
this stage know exactly how much I want
to lower the text by (\lower #xx). When the overall layout of the score is
settled, I would like to experiment with
different values of N, without having to change each \lower command separately.
The solution seemed to me to be to
define a new markup command (e.g. \dropNextline) which specifies the amount to
which the line should be lowered. Then
my 15 entries could all read \dropNextLine { text text text }, and the
experiment would only involve changing the value
of xx in the define-markup-command code until the overall spacing is correct
when judged by the eye. But I'm bu**ered
if I can get it to work. Sorry if I'm ignorant of something I should have found
in the documentation.
I guess I have
two questions:
(1) How to define a suitable \dropNextLine command?
(2) Is there an explanation anywhere from which I
can learn in a graded, structured, way how to define my own markup commands so
I don't have to presume repeatedly upon
the kindness of other users on the forum? Are there some examples which would
lead me by the hand a bit more gently,
starting from the commands scm/define-markup-commands.scm and working them up
into a useable result?
By the way, I
have found define-music-function code much easier to handle, although I readily
admit to being rather a beginner.
Cheers, Philip
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Pronunciation hints in \markup block
I am setting a piece of vocal music in which I wish to include pronunciation hints for the singers. For example, I might want to indicate that an e in a word should be pronounced as eh (rather than ee). To achieve this, it would be handy to insert eh (possibly in italics) immediately over (or under) the e concerned. I have found suggestions for adding \dynamic marks to lyrics. Tailor-made new dynamics could then be included, formatted as desired and tweaked into the correct position. But I don't really want to clutter the lyrics line within the music itself. I intend in any event to include the entire text in a \markup block, immediately following the \score. Is there any way of adding this kind of markup to the text in the markup block? Any help appreciated. Sorry if I've missed something blindingly obvious in the documentation or on the forum. Cheers, Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Installing LilyPond fonts for use in programs under
philip.tho...@bluewin.ch writes: Is it possible to install the Feta/Emmentaler font(s?) in Windows 7 so that characters become available in applications running under Windows? Jan Nieuwenhuizen writes: The easiest way to do that is probably by installing Denemo http://www.denemo.org/Download Thanks, Jan. I tried it, and the font was indeed then present in font lists under Windows, but in a rather quirky way -- small glyphs with difficult-to-use spacing. My workaround: When I need a LilyPond glyph in a Windows program, I produce it in PDF format from a .ly file by the conventional LilyPond route, and then use Adobe Reader's snapshot feature to copy and paste it. Not entirely satisfactory since resizing of the pasted image results in some loss of definition of the image, but I'll work on improving that. Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Installing LilyPond fonts for use in programs under Windows 7
philip.tho...@bluewin.ch wrote: And by the way, what is the relationship between Feta and Emmentaler? Han-Wen Nienhuys replied: feta was the original Type1 font. Since Type1 fonts can only hold 256 entries, we had several of them. Later we unified them into Emmentaler (a big cheese) which has all the glyphs in a single font. Nice! -- especially since feta cheese has been a protected designation of origin product in the European Union since 2002, whereas the name Emmentaler is not protected and thus available for any cheesemaker to use. The metaphor can easily get stretched too far, though: Emmentaler cheese is characteristically full of holes ... Suggestion: The documentation led me to be confused as to the font name. For example, in the Notation Reference (v.2.14.2), section A.7 (page 575), one finds: A.7 The Feta font The following symbols are available in the Emmentaler font ... Not exactly a top priority matter, but at some stage the terminology might be worth clarifying. Philip ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
