Re: Is it possible to replace a number with variable inside a pair?

[Risto Vääräniemi]

Whoa! I would have never found that out by myself. :) Thanks Urs &
Jan-Peter. I have to check the Scheme link, too.

BR,
Risto

On 26 July 2018 at 10:40, Jan-Peter Voigt  wrote:

> Hi Risto,
>
> you might go this way:
>
> lineThickness = 5
> \markup \override #`(thickness . ,lineThickness) \draw-hline
>
> That is semi-quote the pair with ` (instead of ') and then "unquote" the
> variable to retrieve the value with a comma (,)
>
> HTH
> Jan-Peter
>
> Am 26.07.2018 um 09:35 schrieb Risto Vääräniemi:
> > Hi,
> >
> > I tried the following:
> >
> > lineThickness = 5
> > \markup \override #'(thickness . #lineThickness) \draw-hline
> >
> > But it seems I cannot give the variable inside the pair. This works:
> >
> > lineThicknessPair = #'(thickness . 5)
> > \markup \override #lineThicknessPair \draw-hline
> >
> > Is there any way to make it work with just a single number variable? I
> > even tried the variable without the '#' or replaced it with a '\'. I
> > just got different errors.
> >
> > BR,
> > Risto
> >
> >
> > ___
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> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
> >
>
>
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Is it possible to replace a number with variable inside a pair?

[Risto Vääräniemi]

Hi,

I tried the following:

lineThickness = 5
\markup \override #'(thickness . #lineThickness) \draw-hline

But it seems I cannot give the variable inside the pair. This works:

lineThicknessPair = #'(thickness . 5)
\markup \override #lineThicknessPair \draw-hline

Is there any way to make it work with just a single number variable? I even
tried the variable without the '#' or replaced it with a '\'. I just got
different errors.

BR,
Risto
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Is it possible to run lilypond and not produce MIDIs?

[Risto Vääräniemi]

Hi all,

Well, the subject says pretty much all. It'd be nice to be able to run
lilypond and disable MIDI generation with a flag or something (e.g. when
producing the PDFs for printing in a designated folder). Is there a way?

BR,
Risto
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Re: is the lyric tie tweakable?

[Risto Vääräniemi]

Hi Kieren, David & all,

I was searching for a way to shift the lyric tie around and I found this
thread from a year back. It looked promising and so I tried David's cool
looking tiedLyricOverrides thingy but it only worked partially. I can
adjust the word-space but the left-pad does not have any effect. It doesn't
matter if I enter positive or negative values. The word-space accepts
negative values, though. How should the left-pad affect the text-tie-text
combo?

For most of the time the default results are fine for me but if there's a
comma between the syllables, e.g. "ro,~e" I'd like to move the tie just a
little bit to the left (negative padding) while keeping the space as it is.
I'm currently using 2.19.65 but I tested it also on .55 with similar
results. I attached the default results and the desired results as an image.

As a plan B I tried to use markup as the text following the tie (so I could
use negative hspace or something to shift the second part) but that did not
seem to work. The text inside the markup was attached to the following note.

Now we get to plan C... I found a way to cheat the system to get what I
wanted but I'd really appreciate a "proper" way to move the tie around. If
I use it for different text I'll have to tweak the X-offset of the tie
glyph.
\markup \combine "ro, e" { \translate #'(3 . 0)  \musicglyph
#"ties.lyric.default" }

Any other pointers? Did I miss something? Perfectionist? Moi? :-)

BR,
Risto



On 26 April 2017 at 03:48, David Nalesnik  wrote:

> On Tue, Apr 25, 2017 at 7:45 PM, David Nalesnik
>  wrote:
> > On Tue, Apr 25, 2017 at 7:16 PM, Kieren MacMillan
> >  wrote:
> >> Hi David,
> >>
> >>> \markup \tied-lyric \override #'(word-space . 2) #"le,~au”
> >>
> >> Bingo! Didn’t even need to add the extra parameters!
> >>
> >>> Don't know at the moment how to make this less cumbersome.
> >>
> >> I don’t need this to be less cumbersome — this completely solves my
> original problem.
> >> (But this exercise did serve to fractionally increase my Scheme-fu…)
> >>
> >
> > Nice to hear!
> >
> > In any case, here's an experiment.  It allows for varying the
> > parameters within the lyricmode expression:
> >
> > \version "2.19.59"
> >
> > #(define (lyric-text::special-print overrides)
> >(lambda (grob)
> >  (let ((text (ly:grob-property grob 'text)))
> >(grob-interpret-markup
> > grob
> > (if (string? text)
> > (fold
> >  make-override-markup
> >  (make-tied-lyric-markup text)
> >  overrides)
> > text)
> >
> > tiedLyricOverrides =
> > #(define-music-function (overrides) (list?)
> >#{
> >  \override Lyrics.LyricText.stencil = #(lyric-text::special-print
> overrides)
> >#})
> > {
> >   \relative {
> > \autoBeamOff
> > r8 b' c fis, fis c' b e,
> >   }
> >   \addlyrics {
> > \tiedLyricOverrides #'((word-space . 5) (left-pad . 3))
> > Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da
> >   }
> > }
> >
> > %%
> >
> > Of course, you'd need to add the left-pad property and functionality
> > to \tied-lyric for it to have any effect.
> >
>
> One more thing: you can use \once too.
>
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Re: Merge_rests_engraver and dotted rest problem

[Risto Vääräniemi]

On 28 August 2017 at 17:57, Thomas Morley <thomasmorle...@gmail.com> wrote:
> 2017-08-27 12:58 GMT+02:00 Risto Vääräniemi <risva...@gmail.com>:
>>
>> I just discovered the new Merge_rests_engraver that should merge the
>> rests of two voices. It is an improvement to the LSR snippet 336 *)
>> because it now combines the whole-measure rests. However, it fails to
>> merge dotted rests.
>> ...
>>
>
> Hi Risto,
>
> this is now Issue 5179
> https://sourceforge.net/p/testlilyissues/issues/5179/
> with patch.
>
> Thanks for your report,
>   Harm

Thanks Harm. That was quick. ;-)

-Risto

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Merge_rests_engraver and dotted rest problem

[Risto Vääräniemi]

Hi,

I just discovered the new Merge_rests_engraver that should merge the
rests of two voices. It is an improvement to the LSR snippet 336 *)
because it now combines the whole-measure rests. However, it fails to
merge dotted rests.

There was a short discussion from November 2016 about a similar issue
but I'm not sure if it's the same:
http://lists.gnu.org/archive/html/lilypond-user/2016-11/msg00374.html

I could not find an issue about this. Is this a bug and should there
be an issue?

It'd be really nice to have one system that could handle both cases.

*) http://lsr.di.unimi.it/LSR/Item?id=336

BR,
Risto

---

\version "2.19.65"

voiceA = \relative { d''8 r4. d2 }
voiceB = \relative { fis'8 r4. g2 }
\score {
  <<
\new Staff \with { \consists #Merge_rests_engraver }
<<
  \new Voice { \voiceOne \voiceA }
  \new Voice { \voiceTwo \voiceB }
>>
  >>
}
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Re: Adjusting space between a note and the following accidental(s)

[Risto Vääräniemi]

Hi Kieren,

On 15 July 2017 at 22:26, Kieren MacMillan
 wrote:
> Not necessarily:
>
> \version "2.19.63"
> \language "english"
>
> \new Staff \with { \omit TimeSignature \omit Clef } <<
>   { \time 3/4 \clef bass \voiceOne b8 f b4 c'8( cs') }
>   \new Voice { \voiceTwo d8 c d4 e8( \tweak Accidental.extra-spacing-width 
> #'(-10 . 0) e!)}
>>>

Thanks again for the pointer. :) This did the trick: "\tweak
Accidental.extra-spacing-width #'(0 . -1.2)".

-Risto

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Re: Adjusting space between a note and the following accidental(s)

[Risto Vääräniemi]

On 15 July 2017 at 21:31, Malte Meyn <lilyp...@maltemeyn.de> wrote:
>
> Am 15.07.2017 um 20:03 schrieb Risto Vääräniemi:
>>
>> Is there a way to adjust the space between an accidental and a note
>> that precedes it? The AccidentalPlacement has a right-padding value
>> but not a "left-padding" value so I guess it is handled by the
>> preceding note somehow. I tried to find something suitable in
>> NoteColumn but had no success so far.
>
>
> Have you tried to \override NoteColumn.X-offset?

I could not make it work but I was able to really mess up the beats so
that the notes on the top staff don't match the bottom staff. :)

I tried that on both staves, with and without Score. prefix and on
both eighths of the last beat.

-Risto

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Adjusting space between a note and the following accidental(s)

[Risto Vääräniemi]

Hi,

Is there a way to adjust the space between an accidental and a note
that precedes it? The AccidentalPlacement has a right-padding value
but not a "left-padding" value so I guess it is handled by the
preceding note somehow. I tried to find something suitable in
NoteColumn but had no success so far.

The attached image shows that the bracketed 1/8 notes are spaced quite
differently depending on accidentals. In my opinion there would still
be enough room if I squeezed the ones with accidentals a bit.

-Risto


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Re: Padding between last system and footer

[Risto Vääräniemi]

On 18 January 2017 at 19:47, tisimst <tisimst.lilyp...@gmail.com> wrote:

> Hey, Risto!
>
> On Wed, Jan 18, 2017 at 10:33 AM, Risto Vääräniemi-2 [via Lilypond] <[hidden
> email] <http:///user/SendEmail.jtp?type=node=199319=0>> wrote:
>
>> Hi,
>>
>> Is there a way to add some padding between the last system of the page
>> and the footer? I have the copyright in the end of the 1st page. There
>> doesn't seem to be a suitable spacing option in the \paper variables. There
>> used to be a "foot-separator" in 2.11 but since then the spacing has
>> changed a lot.
>>
>> I can (usually) adjust the spacing with system-system-spacing to leave
>> some space but then the following pages might be cramped. I also must set
>> ragged-bottom to #f to do that—not always desirable.
>>
>> Adding a blank line to the footer is not really an option because
>> sometimes the score is PD and there's no copyright. Then, I'd like to use
>> all the space that's available.
>>
>> Any ideas?
>>
>
> Maybe the attached diagram helps? These vertical spacing properties are
> all described in NR 4.1.4.
>
>
Thanks Abraham. An excellent diagram (worth 1 words). I understood that
the last-bottom-spacing referred to last page bottom spacing. I probably
have some problems between reading and understanding something. :)

@Kieren:
What if I have e.g. a 4 page score? Surely, the ragged-last-bottom only
affects the page 4, not the problematic pages 2–3?

BR,
Risto
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Padding between last system and footer

[Risto Vääräniemi]

Hi,

Is there a way to add some padding between the last system of the page and
the footer? I have the copyright in the end of the 1st page. There doesn't
seem to be a suitable spacing option in the \paper variables. There used to
be a "foot-separator" in 2.11 but since then the spacing has changed a lot.

I can (usually) adjust the spacing with system-system-spacing to leave some
space but then the following pages might be cramped. I also must set
ragged-bottom to #f to do that—not always desirable.

Adding a blank line to the footer is not really an option because sometimes
the score is PD and there's no copyright. Then, I'd like to use all the
space that's available.

Any ideas?

BR,
Risto
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How to adjust space between ChordNames and Staff?

[Risto Vääräniemi]

Hi all,

The spacing between ChordNames and Staff seems a bit tight by default. I've
been trying to adjust it but I haven't figured out the right magic words
yet. The IR says *) that there should be
nonstaff-nonstaff-spacing.padding and
nonstaff-relatedstaff-spacing.padding
available and I have tried those + some more (see the example below).
However, there's no change in the spacing.

Am I missing something obious?

BR,
Risto

*) http://lilypond.org/doc/v2.19/Documentation/internals/chordnames

---

\version "2.19.49"

chordStuff = \chords { c1 d:m }

melody = \relative c'' { c4 c c c | d d d d }

\score {
  <<
\new ChordNames \with {
  \override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding =
#10
  \override VerticalAxisGroup.nonstaff-nonstaff-spacing.padding = #10
  \override VerticalAxisGroup.staff-staff-spacing.padding = #10
} { \chordStuff }
\new Staff { \melody }
  >>
  \layout { }
}
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Re: LyricExtender and alternate volta ending

[Risto Vääräniemi]

Thanks guys,

I knew there was a way to fool the system. ;) I think I'll go for David's
approach. That way I don't need to mess with the music.

I must also check if I can use the \nbsp to get rid of some pesky warnings
with other extenders, which I have ended with "" to stop them extending
over notes I want to skip e.g. { dah __ "" _ _ } --> { dah __ \nbsp _ _ }.

Happy new year...

-Risto

On 1 January 2017 at 04:52, David Wright <lily...@lionunicorn.co.uk> wrote:

> On Sat 31 Dec 2016 at 13:36:15 (+0200), Risto Vääräniemi wrote:
> > Hi all,
> >
> > I'm porting a project I made on 2.11 to 2.19 and every now and then I
> > encounter some things that worked with the old version but not anymore
> with
> > the new one.
> >
> > The most recent one is the behaviour of the LyricExtender in the
> alternate
> > endings. In 2.11 you could fool the system to add the an empty extender
> by
> > adding \markup { "" } in the lyrics but that does not work anymore with
> > 2.19. The current manual *) suggests adding underscores manually but that
> > is an ugly workaround especially if the passage in the alternative ending
> > is long (as I have in the real world example).
> >
> > Is there any way to do this more dynamically?
>
> I find the definition
>
> nbsp = \markup \char ##x00A0
>
> useful in many situations where you want "nothing".
> It avoids the effect of making the previous note into the
> start of a melisma, which writing   " "   can do.
>
> The override extends the extender to the left, which makes it a bit
> clearer what it is doing there. Adjust the -2 to taste.
>
> Cheers,
> David.
>
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LyricExtender and alternate volta ending

[Risto Vääräniemi]

Hi all,

I'm porting a project I made on 2.11 to 2.19 and every now and then I
encounter some things that worked with the old version but not anymore with
the new one.

The most recent one is the behaviour of the LyricExtender in the alternate
endings. In 2.11 you could fool the system to add the an empty extender by
adding \markup { "" } in the lyrics but that does not work anymore with
2.19. The current manual *) suggests adding underscores manually but that
is an ugly workaround especially if the passage in the alternative ending
is long (as I have in the real world example).

Is there any way to do this more dynamically?

-Risto

*)
http://lilypond.org/doc/v2.19/Documentation/notation/techniques-specific-to-lyrics

-

\version "2.19.49"
% \version "2.11.65"

music = \relative c' \new Voice = "music" {
  \repeat volta 2 { c4 c c c ~ }
  \alternative {{ c2 c }{
  c2\repeatTie a4( c) }} \bar "|."
}

words = \lyricmode {
  Da da da dah __ da
  \markup { "" } __ dum.
}

<<
  \music
  \new Lyrics \lyricsto "music" \words
>>
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Fwd: Weird behaviour with TupletNumber.avoid-slur (beam disappears)

[Risto Vääräniemi]

Hi Harm,

Thanks for checking. I had a look at the file I am now porting to 2.19 and
it seems it was made with 2.11.57. I attached an image showing how things
were back in 2008/9. There the slur ends are on the same level. The effect
was achieved with (old syntax shown):
\once \override TupletNumber #'avoid-slur = #'outside
\once \override TupletBracket #'padding = #2

About the disappearing beam bug... Shall I just forward this thread to
lily-bug or create the ticket by myself?

-Risto

On 16 November 2016 at 11:14, Thomas Morley <thomasmorle...@gmail.com>
wrote:

> 2016-11-16 8:30 GMT+01:00 Risto Vääräniemi <risva...@gmail.com>:
> > David's example shows the same issue, I'm having.
> >
> > @Mark:
> > I'm writing choir music with soprano & alto on one staff and tenor &
> bass on
> > another. So, basically I need to force slurs & ties on the "outer side"
> of
> > each staff. I also need to force stems up / down. I just deleted
> everything
> > unnecessary from my example as instructed.
> >
> > Could this be a bug? --> Should I send this to bug list? I could not
> find a
> > suitable bug in the list with a quick search.
> >
> > -Risto
>
> Hi Risto,
>
> https://sourceforge.net/p/testlilyissues/issues/596/
> https://sourceforge.net/p/testlilyissues/issues/1374/
> https://sourceforge.net/p/testlilyissues/issues/4583/
>
> are related.
>
> I wrote a test-code and checked with several versions since 2.12.3
> (hence the old syntax)
>
>
> suicideTN =
> \override TupletNumber #'before-line-breaking =
>   #(lambda (grob) (ly:grob-suicide! grob))
>
> omitTN = \override TupletNumber #'stencil = #'()
>
> hideTN = \override TupletNumber #'transparent = ##t
>
> avoidSlurOutside = \override TupletNumber #'avoid-slur = #'outside
>
>
> printTuplets =
> #(define-music-function (parser location nmbr mus mus2)
> (integer? ly:music? ly:music?)
> #{
> \relative c'' {
>   $mus2
>   $mus
>   \repeat unfold $nmbr \times 2/3 { g8^( a) g }
> }
> #})
>
> nr = 4
>
> \markup \rounded-box \fill-line { "default" }
>
> \markup "default"
> \printTuplets #nr {}{}
>
> \markup "suicide TupletNumber-grob"
> \printTuplets #nr \suicideTN {}
>
> \markup "omit TupletNumber.stencil"
> \printTuplets #nr \omitTN {}
>
> \markup "TupletNumber.transparent = ##t"
> \printTuplets #nr \hideTN {}
>
> \markup \rounded-box \fill-line { "avoid-slur : outside" }
>
> \markup "default"
> \printTuplets #nr {} \avoidSlurOutside
>
> \markup "suicide TupletNumber-grob"
> \printTuplets #nr \suicideTN \avoidSlurOutside
>
> \markup "omit TupletNumber.stencil"
> \printTuplets #nr \omitTN \avoidSlurOutside
>
> \markup "TupletNumber.transparent = ##t"
> \printTuplets #nr \hideTN \avoidSlurOutside
>
>
> Turns out the position of the slur is inconsistent even back in 2.12.3
> But the Beam only vanishs for devel-versions.
> In 2.19.29, which is the oldest devel-version lying around on my
> machine, the beam disappears already, but not for 2.18.2
>
> So, yes, this is a bug. Please report.
>
> Cheers,
>   Harm
>
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Re: Weird behaviour with TupletNumber.avoid-slur (beam disappears)

[Risto Vääräniemi]

David's example shows the same issue, I'm having.

@Mark:
I'm writing choir music with soprano & alto on one staff and tenor & bass
on another. So, basically I need to force slurs & ties on the "outer side"
of each staff. I also need to force stems up / down. I just deleted
everything unnecessary from my example as instructed.

Could this be a bug? --> Should I send this to bug list? I could not find a
suitable bug in the list with a quick search.

-Risto

On 16 November 2016 at 01:13, David Wright <lily...@lionunicorn.co.uk>
wrote:

> On Tue 15 Nov 2016 at 13:23:56 (-0800), Mark Stephen Mrotek wrote:
> > Not knowing the requirements/necessity of your putting the slur above
> the beam, I would put the slur down – closer to the note heads. This
> would/does avoid conflict with the number.
>
> Yes, that's what I thought, until I looked at a partial draft setting
> I have which looks like the attached. I force the tuplet numbers
> above the staves because there are lyrics, but I left the slurs to
> their own devices.
>
> Slurs across whole triplets (not shown here) sit over the tuplet
> numbers, which is fine for me, but these partial slurs seem to point
> in the wrong direction, as if half-heartedly trying to leap over the
> numbers.
>
> > From: Risto Vääräniemi [mailto:risva...@gmail.com]
> > I need a slur. It was quicker to write a bunch of same notes. I tested
> it again with different pitches and it gets even weirder.
> >
> > Please check the first and the third tuple. They are different for some
> reason. The beam is horizontal so I'd expect the slur ends be on the same
> level, too. In my real example I get the first one. I'll try to tweak the
> control points but I don't think I should. The fourth one is the one I'd
> like to have.
>
> Cheers,
> David.
>
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Re: Weird behaviour with TupletNumber.avoid-slur (beam disappears)

[Risto Vääräniemi]

Hi Mark,

I need a slur. It was quicker to write a bunch of same notes. I tested it
again with different pitches and it gets even weirder.

Please check the first and the third tuple. They are different for some
reason. The beam is horizontal so I'd expect the slur ends be on the same
level, too. In my real example I get the first one. I'll try to tweak the
control points but I don't think I should. The fourth one is the one I'd
like to have.

-Risto

\version "2.19.49"

\relative c'' {
  \time 4/4
  \tuplet 3/2 {a8^( g) a}
  \once \override TupletNumber.avoid-slur = #'outside
  \tuplet 3/2 {a8^( g) a}
  \tuplet 3/2 {a8^( g) a}
  \once \override TupletBracket.padding = #1.6
  \tuplet 3/2 {a8^( g) a}
}

On 15 November 2016 at 20:35, Mark Stephen Mrotek <carsonm...@ca.rr.com>
wrote:

> Risto,
>
>
>
> Looking at the .png, do you want a slur or a tie?
>
> I have tried two alterations (in 2.18.2):
>
> 1.  Changing pitches to “g^ (a) b” and the number is positioned
> correctly.
>
> 2.  Changing from a slur to a tie, “g^~ g  g ” and the number is
> positioned correctly.
>
>
>
> Mark
>
>
>
> *From:* lilypond-user [mailto:lilypond-user-bounces+carsonmark=
> ca.rr@gnu.org] *On Behalf Of *Risto Vääräniemi
> *Sent:* Tuesday, November 15, 2016 9:22 AM
> *To:* Lilypond user <lilypond-user@gnu.org>
> *Subject:* Weird behaviour with TupletNumber.avoid-slur (beam disappears)
>
>
>
> Hi,
>
> I tried to keep the tuplet number from colliding with a slur by using
> TupletNumber.avoid-slur = #'outside. It has worked before ~2.12.XX but with
> 2.19.49 something weid happened. The tuplet beam disappeared (actually was
> shortened and moved to the left of the staff, see the red circle).
>
> Even without the avoid-slur the slur and the tuplet number behaved
> differently depending on which beat the tuplet was on.
>
> The third one is the expected (but not ideal) way LP prints this. The
> fourth is the weirdest one with avoid-slur. The second one is something
> quite interesting.
>
> Thankfully, there's TupletBracket.padding that bails me out.
>
>
>
> -Risto
>
> -
>
> \version "2.19.49"
>
> \relative c'' {
>   \time 4/4
>   \tuplet 3/2 { g8 g g }
>   \tuplet 3/2 { g8^( g) g }
>   \tuplet 3/2 { g8^( g) g }
>   \once \override TupletNumber.avoid-slur = #'outside
>   \tuplet 3/2 { g8^( g) g }
> }
>
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Weird behaviour with TupletNumber.avoid-slur (beam disappears)

[Risto Vääräniemi]

Hi,

I tried to keep the tuplet number from colliding with a slur by using
TupletNumber.avoid-slur = #'outside. It has worked before ~2.12.XX but with
2.19.49 something weid happened. The tuplet beam disappeared (actually was
shortened and moved to the left of the staff, see the red circle).

Even without the avoid-slur the slur and the tuplet number behaved
differently depending on which beat the tuplet was on.

The third one is the expected (but not ideal) way LP prints this. The
fourth is the weirdest one with avoid-slur. The second one is something
quite interesting.

Thankfully, there's TupletBracket.padding that bails me out.

-Risto

-

\version "2.19.49"

\relative c'' {
  \time 4/4
  \tuplet 3/2 { g8 g g }
  \tuplet 3/2 { g8^( g) g }
  \tuplet 3/2 { g8^( g) g }
  \once \override TupletNumber.avoid-slur = #'outside
  \tuplet 3/2 { g8^( g) g }
}
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Re: Start volta after time signature change (instead of before)?

[Risto Vääräniemi]

On 21 October 2016 at 19:52, David Kastrup <d...@gnu.org> wrote:

> Risto Vääräniemi <risva...@gmail.com> writes:
>
> > On 20 October 2016 at 22:16, Risto Vääräniemi <risva...@gmail.com>
> wrote:
> >
> >> On 20 October 2016 at 21:40, David Kastrup <d...@gnu.org> wrote:
> >>
> >>> Risto Vääräniemi <risva...@gmail.com> writes:
> >>>
> >>> > Is there a way to start the volta repeat after the time signature
> >>> change?
> >>>
> >>> Something akin to
> >>>
> >>>
> > I experimented a bit because the first solution did not behave well at
> line
> > breaks. Also the spacing before the time signature was a bit tight. It's
> > not very minimal anymore but I could not find an easy solution to replace
> > only the middle of the line part of the vector.
>
> Ok, maybe I was being overly reckless here: you should likely get the
> default definition (look it up in the Internals guide) and just change
> the bits you want to see changed.
>
>
Yeah, that's where I found the the rest of the break-align-orders
incantation. Thanks for pointing me in the right direction. This works for
me, so far. :)

-Risto
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Re: Start volta after time signature change (instead of before)?

[Risto Vääräniemi]

On 20 October 2016 at 22:16, Risto Vääräniemi <risva...@gmail.com> wrote:

>
> On 20 October 2016 at 21:40, David Kastrup <d...@gnu.org> wrote:
>
>> Risto Vääräniemi <risva...@gmail.com> writes:
>>
>> > Is there a way to start the volta repeat after the time signature
>> change?
>>
>> Something akin to
>>
>>
I experimented a bit because the first solution did not behave well at line
breaks. Also the spacing before the time signature was a bit tight. It's
not very minimal anymore but I could not find an easy solution to replace
only the middle of the line part of the vector.

-Risto

---

\version "2.19.49"

timeSigBeforeVolta = {
  \once \override Score.BreakAlignment.break-align-orders =
##((left-edge cue-end-clef ambitus breathing-sign clef cue-clef
 staff-bar key-cancellation key-signature time-signature custos)
  (left-edge time-signature staff-bar) ; David's part
  (left-edge ambitus breathing-sign clef key-cancellation
key-signature time-signature staff-bar cue-clef custos))
  \once \override Score.TimeSignature.extra-spacing-width = #'(-0.8 . 0.8)
}

\relative c' {
  \key f \major
  \time 2/4 c4 c
  \break
  \timeSigBeforeVolta
  \time 4/4 \repeat volta 2 {
  c c c c }
  c c c c
}
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Re: Start volta after time signature change (instead of before)?

[Risto Vääräniemi]

On 20 October 2016 at 21:40, David Kastrup <d...@gnu.org> wrote:

> Risto Vääräniemi <risva...@gmail.com> writes:
>
> > Is there a way to start the volta repeat after the time signature change?
>
> Something akin to
>
>
Oh, yeah. Thanks a bunch. :-)

-Risto
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Start volta after time signature change (instead of before)?

[Risto Vääräniemi]

Hi,

Is there a way to start the volta repeat after the time signature change?
By default Lilypond puts the time signature after the bar line. The Gould
book says that it could / should be before the repeat if it affects the
whole repeat (no need to "duplicate" it).

-Risto

---

Here's the snippet I tried:

\version "2.19.42"

\relative c' {
  \time 2/4 c4 c \time 4/4 \repeat volta 2 {
  c c c c }
  c c c c
}
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Is there a way to tweak glissandos (glissandi)

[Risto Vääräniemi]

Hi,

Long time no see.

I was rekindling my Lilypond skills with a set of Christmas carols and
stumbled upon a set of that are quite ugly quite. Is there a way to tweak
them e.g. by changing the Y offset of end points? I have understood that
the \shape and control-points are for Bezier based stuff but could not find
any suitable setting for straight lines.

\version 2.17.95

\paper { ragged-right = ##t }

\relative c'' {

{\stemUp b2 \glissando f} \\ {\stemDown a \glissando d,} 

}


BR,

Risto
attachment: ugly_glissandi.png___
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Re: chordname vertical spacing

[Risto Vääräniemi]

On 05/04/2009, François Labadens francois.labad...@gmail.com wrote:
 I would like to have chord names nearer to the staff... How can I do that ?

I had the same problem. I'm now using the following setting in the
Staff below the chords:
\new Staff \with {\override VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 3)}

Sometimes I still use extra-offset. :-(

-Risto


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Reducing top margin when using -dbackend=eps?

[Risto Vääräniemi]

Hi,

It seems that the (negative) top-margin and page-top-space don't have
much effect on the white space at the top of the page if I use
-dbackend=eps. I am able to reduce the top margin (with negative
top-margin) if I invoke LP normally. I'm using this EPS feature to get
separate PDFs.

Is there a way? I had a look at the Vertical dimensions section but
couldn't find any other setting that could be used.

-Risto


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Re: \natural

[Risto Vääräniemi]

2009/2/20 Nikolay Kirov nkki...@gmail.com:

 I need to place \natural (in front of a note) like sharp or flat (aes
 or ais) ignoring any automatic rules.
 Is it possible?

Do you mean something like a! (note the exclamation mark)? These
forced accidentals are explained in the beginning of the Notational
Reference doc.

-Risto


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Re: (Bug?) Hidden staves take space if there are lyrics

[Risto Vääräniemi]

Hi all,

Has anyone else encountered this issue? The feature / bug still exists
in 2.12.2.

-Risto

2008/9/1 Risto Vääräniemi risva...@gmail.com:
 Hi,

 It seems that if I remove the empty staves using
 RemoveEmptyStaffContext everything is usually OK if there are not
 lyrics. There's equal amount of space between the staves. However, if
 I throw in some lyrics the spacing is messed up and the invisible
 staves start taking some space. If there are lyrics you can see the
 difference when you compare the space between the first and the second
 system and between the second and the third. If there's no lyrics the
 spacing is normal (between 3rd and 4th staves).

 Is this a known feature / issue or a new bug? Is there a workaround
 for it? I tried to search the bug repository but could not find
 anything similar.

 -Risto



%%%
\version 2.11.56

\paper {
   ragged-right = ##t
   indent = 0\mm
   between-system-padding = 0\mm
}

\score {
   
   \new Staff {
   c'1 c' \break
   c' c' \break
   c' c' \break
   c' c'
   }
   \addlyrics { foo bar foo bar  }
   \new Staff {
   c'1 c'
   s s
   s s
   c' c'
   }
   \addlyrics { foo bar }
   

   \layout {
   \context {
   \RemoveEmptyStaffContext
   }
   }
}
%%%
attachment: hidden_staves_take_space_with_lyrics.png___
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Re: [ANN] LilyPondTool-2.12-r2 released

[Risto Vääräniemi]

2009/2/17 Bertalan Fodor (LilyPondTool) lilypondt...@organum.hu:
 Oh, never thought of it :-)

 Could you create a bug tracker on http://sf.net/projects/lily4jedit?

Ok. It's there now.

-Risto

 Risto Vääräniemi wrote:

 Hi,

 I just noticed that the opening the generated PDF file in an external
 viewer has a small flaw. On Windoze machines LPTool starts the default
 PDF viewer (usually Acrobat) instead of the one the user specifies
 (e.g Foxit). The viewer is started using a start command like this:
 start path to the viewer path to the file
 In this case the start command expects a title as the first parameter
 and fails to launch the desired application. It should probably be
 started like this:
 start  path to the viewer path to the file

 The  is the title for the application.


 BR,

 Risto







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Re: [ANN] LilyPondTool-2.12-r2 released

[Risto Vääräniemi]

Hi,

I just noticed that the opening the generated PDF file in an external
viewer has a small flaw. On Windoze machines LPTool starts the default
PDF viewer (usually Acrobat) instead of the one the user specifies
(e.g Foxit). The viewer is started using a start command like this:
start path to the viewer path to the file
In this case the start command expects a title as the first parameter
and fails to launch the desired application. It should probably be
started like this:
start  path to the viewer path to the file

The  is the title for the application.


BR,

Risto


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Re: feta.ttf?

[Risto Vääräniemi]

Hi all,

2008/10/25 Andrew Hawryluk ahawry...@gmail.com:
 After installing LilyPond you will have OpenType versions of the fonts
 (probably in a directory like .../lilypond/current/fonts/otf), but
 they won't work with Finale. This is because the two programs actually
 use different sets of glyphs and the two fonts store them under
 different character codes. For example, the Finale fonts have separate
 glyphs for 'f', 'ff' 'fff', and '', while LilyPond has a single
 'f' symbol that is used to create various dynamic markings.

I had a look at the Emmentaler OTF font using the Windows Character
Map tool and the font seemed to contain only the numbers, a few
letters (m, f, s, etc.) and some punctuation marks.

I couldn't find any musical glyphs such as sharp and flat signs. I'm
writing a piece of text with another software and it would have been
nice if I could use matching glyphs in the text, too. Is there a way
to access them somehow?

-Risto

 On Fri, Oct 24, 2008 at 3:06 PM, Albert Frantz albert.fra...@gmail.com 
 wrote:
 Hello,

 Has anyone by chance made a TTF version of the beautiful Feta font? It would 
 be
 wonderful to be able to use this font with other programs such as Finale.


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Re: feta.ttf?

[Risto Vääräniemi]

2009/2/15 Risto Vääräniemi risva...@gmail.com:

 I had a look at the Emmentaler OTF font using the Windows Character
 Map tool and the font seemed to contain only the numbers, a few
 letters (m, f, s, etc.) and some punctuation marks.

 I couldn't find any musical glyphs such as sharp and flat signs. I'm
 writing a piece of text with another software and it would have been
 nice if I could use matching glyphs in the text, too. Is there a way
 to access them somehow?

Sorry for the noise. They were there after all. The famous
InvalidEndUserError occurred again.

-Risto

 On Fri, Oct 24, 2008 at 3:06 PM, Albert Frantz albert.fra...@gmail.com 
 wrote:
 Hello,

 Has anyone by chance made a TTF version of the beautiful Feta font? It 
 would be
 wonderful to be able to use this font with other programs such as Finale.



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Re: Why a \score inside \markup doesn't allow breaks?

[Risto Vääräniemi]

Hi again,

Has no-one else encountered this issue?


BR,

Risto

2009/1/21 Risto Vääräniemi risva...@gmail.com:

 I was wondering why a \score inside \markup doesn't allow breaks. If I
 insert a \break everything after it is ignored. If I want to have a
 multi-line piece inside a \markup I have to put multiple \scores in a
 column. Is there another way?

 -Risto

 start 
\version 2.12.1

\markup
{
   \score
   {
   {c'1 c' c' c' \break c' c' c' c'}
   \layout {}
   }
}
 END 


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Re: Why a \score inside \markup doesn't allow breaks?

[Risto Vääräniemi]

2009/1/29 M Watts zwy648...@gmail.com:
 Hmm, I can see how this could be annoying -- I guess \markup's ability to
 include a \score was originally intended for short phrases and alternative
 readings etc., although the docs provide an example of some length.

Yeah. That's probably the original intention. However, I had to write
a two page song (luckily no longer than that), which had a column of
text (lyrics) on the left side and the music on the right side. It was
quite a PITA to split the music into several \score blocks. :-(

That made me wonder if there had been an easier way.

-Risto


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Why a \score inside \markup doesn't allow breaks?

[Risto Vääräniemi]

Hi all,

I was wondering why a \score inside \markup doesn't allow breaks. If I
insert a \break everything after it is ignored. If I want to have a
multi-line piece inside a \markup I have to put multiple \scores in a
column. Is there another way?

-Risto

 start 
\version 2.12.1

\markup
{
\score
{
{c'1 c' c' c' \break c' c' c' c'}
\layout {}
}
}
 END 


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Spacer rests, dynamics and lyrics don't mix

[Risto Vääräniemi]

Dear All,

I just noticed that if I use spacer rests to position dynamics
everything works well until I add some lyrics to the soup. With lyrics
the dynamics attached to the spacer rests adjust themselves with the
lyrics instead of the notes.

In the attached image in the first bar the dynamics are attached to
the notes - in the next two ones to the spacer rests. The middle bar
has the problematic cocktail and the dynamics get screwed. Something
strange also happens without lyrics. In the last bar I've attached the
first 'f' to the note and the second one to a spacer rest. The second
one is aligned differently (a bit more to the left).

Can you tell me if these are bugs or a features?

-Risto

%%% Start %%%
\version 2.11.65

melody = \relative c' \context Voice = mel
{
\time 3/4
f8._\ f16\! f8 f8_\ f f\!
f8. f16 f8 f8 f f
f8. f16 f8 f8 f f
f4_\f f f
}

dynamics =
{
\time 3/4
s2.
s8._\ s16\!  s8 s_\ s8 s\!
s8._\ s16\!  s8 s_\ s8 s\!
s4 s_\f s
}

words = \lyricmode
{
Tral -- la -- la tral -- la -- lah!
Tral -- la -- la tral -- la -- lah!
}


\new Staff

\melody
\dynamics

\new Lyrics \lyricsto mel \words

%%% END %%%
attachment: spacer_dynamics_with_lyrics.png___
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Re: creating a centred column of markups

[Risto Vääräniemi]

2008/11/26 Kieren MacMillan [EMAIL PROTECTED]:

 I need a centred column of (left-aligned) markups — it's a poem that I want
 floating in the centre of the leading page of a choral score.

Is it the same thing that I had a couple of weeks ago or do you want
the exact opposite behaviour?

http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00159.html


-Risto


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Re: Fixed number of bars per line

[Risto Vääräniemi]

2008/11/20 seppo silaste [EMAIL PROTECTED]:
 How can I get a fixed number of bars per line (eg. 4)? I'm trying to create
 empty sheets for writing down (by hand) 12-bar jazz-blues guitar chord
 progressions.

A quick and dirty solution:

\time 4/4 \repeat unfold X { s1 s1 s1 s1 \break }

where X is the number of lines you want to get.

-Risto


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Re: LyricExtender extends too far in some verses

[Risto Vääräniemi]

2008/11/20 Jonathan Kulp [EMAIL PROTECTED]:

 I devised an ugly hack to make the LyricExtenders stop at the right place by
 adding an invisible syllable of text.  Ex:

I've usually used:

verseTwo = \lyricmode {
 tar -- es. __ 
}

Lilypond complaints about empty elements, though:
programming error: cannot align on self: empty element

-Risto


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Re: Short decrescendo

[Risto Vääräniemi]

2008/11/18 Cordilow [EMAIL PROTECTED]:

 Does anyone know how to make this decrescendo go all the way to the a'2? It's
 supposed to, I think.

Try putting \once \override Hairpin #'to-barline = ##f in front of the
crescendo / decrescendo you want to extend beyond the barline. Like
this.

\time 3/4
d'4.^\ (e'8) fis' [(g')]
a'2 b'8 (cis'') d''4^\mf ( \once \override Hairpin #'to-barline = ##f
cis''^\) b'4
a'2^\! \breathe b'8 cis''

-Risto


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Re: Short decrescendo

[Risto Vääräniemi]

2008/11/18 Cordilow [EMAIL PROTECTED]:

 Excellent. Thanks! I guess it wasn't a bug after all, eh? Just a default
 setting or such. :)

Yes. The default behaviour was changed a couple a versions ago. The
syntax for the command was changed, too.

-Risto


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Re: Special characters (umlauts, accents, etc) in lyrics

[Risto Vääräniemi]

Hi Tim,

2008/11/12 Tim Slattery [EMAIL PROTECTED]:

 So how can I get Lilypond to use these characters?

Lilypond should be able to handle them if you set the file encoding to UTF-8

-Risto


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Re: Compound time sig with parentheses (Was: How to prevent \center-column)

[Risto Vääräniemi]

2008/11/10 Graham Percival [EMAIL PROTECTED]:
 I forgot about that.  Look at my second email in that thread.
 http://lists.gnu.org/archive/html/lilypond-user/2008-10/msg00681.html

Thanks for the pointer. After a couple hours' tweaking I came up with
these. I ruthlessly exploited your implementation as a template. :-) I
hope you don't mind.

Most of the time it seems to work nicely. The 12/8 time grouping seems
to be messed up, although, I'm not sure if these kinds of groupings
exist in a real world.

-Risto
\version 2.11.62

parenthps = #
0 0 translate
45 45 scale
0 0 0 setrgbcolor
[] 0 setdash
1 setlinewidth
0 setlinejoin
0 setlinecap
newpath
0.0147465 0 moveto
0.011106 0.00351338 0.00916298 0.00598483 0.00710032 0.00978362 curveto
0.00248893 0.01832964 3e-008 0.02925362 3e-008 0.04074722 curveto
3e-008 0.05157272 0.00218483 0.06173772 0.00625033 0.07019282 curveto
0.00855727 0.07474937 0.01061993 0.07759971 0.0147465 0.08158922 curveto
0.0147465 0.07807584 lineto
0.00867816 0.06971302 0.00625033 0.05898344 0.00625033 0.04074724 curveto
0.00625033 0.02250984 0.00867816 0.01187244 0.0147465 0.00351344 curveto
0.0147465 6e-008 lineto
0.0147465 0 lineto
closepath
fill

parenthL = \markup
{
   \with-dimensions #'(0 . 0.68) #'(0 . 3.67)
   \postscript #parenthps
}

parenthR = \markup { \rotate #180 \parenthL }

  
compoundTimeSigParenth = #(define-music-function
  (parser layout timesig compound) (list? list?)
  #{
% graphical display
\once \override Staff.TimeSignature #'stencil = #ly:text-interface::print
\once \override Staff.TimeSignature #'text = #(markup
   #:override '(baseline-skip . 0) #:number 
;; First create the main time signature
   (#:line (#:left-align (#:center-column (
   (number-string (car $timesig))
   (number-string (cadr $timesig 
   #:concat(#:vcenter parenthL #:hspace 0.2 
   ;; then the compound numerator part
   #:left-align (#:center-column ((#:concat (
   ;; list the additive portions of the time signature,
   ;; adding + between items.
   (make-line-markup (list-insert-separator
 (map (lambda (n)
 (markup (number-string n)))
  $compound)
 (markup +) 
  ;; and lastly the denominator part
 (number-string (cadr $timesig 
 #:hspace 0.2 #:vcenter parenthR

% measure length + beaming
\set Timing.timeSignatureFraction = #(cons (car $timesig) (cadr $timesig))
\set Timing.beatLength = #(ly:make-moment 1 (cadr $timesig) 0 1)
\set Timing.beatGrouping = $compound
\set Timing.measureLength = #(ly:make-moment (car $timesig) (cadr $timesig) 0 1)
  #})
  
  
\version 2.11.62

% Created by gpermus
% Hi-jacked by risvaara

\include compound_parentheses.ly

\relative c' {
  \compoundTimeSigParenth #'(5 8) #'(3 2)
  c8 d16 d e e fis fis gis gis
  \compoundTimeSigParenth #'(5 8) #'(2 3)
  c,8 d16 d e e fis fis gis gis
  \compoundTimeSigParenth #'(5 4) #'(2 3)
  c,8 c d d e e f f g g
  \compoundTimeSigParenth #'(5 4) #'(3 2)
  c,8 c d d e e f f g g
  \compoundTimeSigParenth #'(8 8) #'(3 3 2)
  a8 a a e' e e c c
  \compoundTimeSigParenth #'(12 8) #'(3 3 2 4)
  a8 a a e' e e c c e e c c
  \compoundTimeSigParenth #'(7 8) #'(2 2 3)
  a a b b cis cis cis

  \time 4/4
  a a b b cis cis d d
}

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Compound time sig with parentheses (Was: How to prevent \center-column)

[Risto Vääräniemi]

On 08/11/2008, Neil Puttock [EMAIL PROTECTED] wrote:

 The second column needs to be aligned in relation to the first using
 \left-align:

Thanks a lot, Neil.

Anyway... I made yet another type of time compound signature. This
time the descriptive part is wrapped in parentheses. Since I
couldn't find a way to add the parentheses with LP commands I used
PostScript instead.

-Risto

%%
\version 2.11.63

parenthps = #
0 0 translate
45 45 scale
0 0 0 setrgbcolor
[] 0 setdash
1 setlinewidth
0 setlinejoin
0 setlinecap
newpath
0.0147465 0 moveto
0.011106 0.00351338 0.00916298 0.00598483 0.00710032 0.00978362 curveto
0.00248893 0.01832964 3e-008 0.02925362 3e-008 0.04074722 curveto
3e-008 0.05157272 0.00218483 0.06173772 0.00625033 0.07019282 curveto
0.00855727 0.07474937 0.01061993 0.07759971 0.0147465 0.08158922 curveto
0.0147465 0.07807584 lineto
0.00867816 0.06971302 0.00625033 0.05898344 0.00625033 0.04074724 curveto
0.00625033 0.02250984 0.00867816 0.01187244 0.0147465 0.00351344 curveto
0.0147465 6e-008 lineto
0.0147465 0 lineto
closepath
fill

parenthL = \markup
{
\with-dimensions #'(0 . 0.68) #'(0 . 3.67)
\postscript #parenthps
}

parenthR = \markup { \rotate #180 \parenthL }

#(define (compound-time-parentheses one two num)
  (markup #:override '(baseline-skip . 0) #:number
   (#:line (#:left-align (#:center-column (one num))
 #:concat (#:vcenter parenthL #:hspace 0.2
  (#:left-align (#:center-column (two num))) #:hspace 0.2
  #:vcenter parenthR)


%%%


\relative c'
{
\time 7/4
\override Staff.TimeSignature #'stencil = #ly:text-interface::print
\override Staff.TimeSignature #'text =
#(compound-time-parentheses 7 4+3 4 )

c1 \bar dashed c2. \time 12/4
\override Staff.TimeSignature #'text =
#(compound-time-parentheses 12 5+4+3 4 )
c1 ~ c4 \bar dashed c1 \bar dashed c2. \bar |.
}
%%
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Re: Compound time sig with parentheses (Was: How to prevent \center-column)

[Risto Vääräniemi]

2008/11/9 Graham Percival [EMAIL PROTECTED]:

 You could use \bracket, although I would just recommend (.

I tried ( but they looked too wide if I just scaled them. I searched
for a function that would allow markup stretching but couldn't find
one (I did find an old message where someone else was requesting such
a feature, too).

 Also note that this method only displays the compound time; it
 doesn't change the beaming.

That's true. I didn't know how to implement such a feature and I
wanted to use this just in one song, so I didn't dig that deep. If
someone else does know... :-)

-Risto


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Re: Compound time sig with parentheses (Was: How to prevent \center-column)

[Risto Vääräniemi]

2008/11/9 Ralph Palmer [EMAIL PROTECTED]:
 What a beautiful job!

 Can these be added to the LSR?

OK by me.

-Risto


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How to prevent \center-column colliding with other markup?

[Risto Vääräniemi]

Hi,

I am trying to add a \center-column'ed text in my markup block.
However, that part is not properly aligned (at least in my opinion)
and it is partially placed on top of the text that's on its left side.
Should I wrap the \center-column part inside some other markup
function? I already tried \line and \column.


\version 2.11.63

\markup
{
\number \override #'(baseline-skip . 0)
{
\line {\center-column { 7 4 }}
\line {\center-column {\concat {4 + 3} 4 }}
}
}


As you probably already guessed I'm trying to make a custom time
signature. Using a \hspace between the two columns is not a good
solution since if I change the numbers I should also change the
\hspace – I'm planning to put this inside a scheme function.

-Risto


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Re: What to do when \ and \ produce text

[Risto Vääräniemi]

2008/10/30 Trevor Daniels [EMAIL PROTECTED]:

 In my experience (vocal music), cresc and dim without a dashed
 line is used almost universally.  Hairpins are used when an extent
 is being indicated.

I have the same impression (choir music).

 I vote for not adding the dashed line to these commands.

+1

-Risto


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Re: Tuplet groupings / TupletBracket Padding

[Risto Vääräniemi]

Hi Erik,

2008/10/29 Erik Hagström [EMAIL PROTECTED]:

 I've tried putting \revert TupletBracket #'padding at various places but it
 doesn't seem to work. I feel like there's probably some solution to this 
 though
 - hope you can help out!

I think the \tweak command could do the trick. I modified your file a bit:

up = \drummode {
  r2 \tweak #'padding #3 \times 2/3 { \times 1/5 { boh16[
  bol bol boh boh] } \times 1/5 { boh16[ bd bd sn sn] } \times 1/6 { bd16[ sn sn
  sn sn sn] }}
}

The \tweak is explained in Learning Manual:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Tweaking-methods#Tweaking-methods

-Risto


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Re: LilyPond examples

[Risto Vääräniemi]

NITPICKING-OT

2008/10/16 Kieren MacMillan [EMAIL PROTECTED]:

 Difficult modern concepts are much easier in Lilypond than the others, e.g.

figured bass:
http://lsr.dsi.unimi.it/LSR/Item?id=291

Just out of curiosity (I don't know anything about figures bass)... :-)

Is the number 6 on the second beat of the 4th (second last) measure
really meant to be larger than the rest of the numbers? Or is it just
the \markup that makes it bigger by default if the size isn't
specified?

-Risto

/NITPICKING-OT


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Re: WANTED: Design for documentation (Photoshop power users!)

[Risto Vääräniemi]

Hello all,

Just a side note...

I noticed that when I browse a full page document it takes quite a
long time for context menus (right click) to appear. I usually use
that feature to get back to the previous view. When the context menu
appears the horizontal and vertical scroll bars for the whole page
appear, too. With the old pages this didn't happen.

I'm using WinXP  Firefox 2. I haven't tested the behaviour on FF 3.

-Risto


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Re: Parenthesizing a note head /and/ the preceding accidental?

[Risto Vääräniemi]

2008/10/10 Risto Vääräniemi [EMAIL PROTECTED]:

 One possible use for such a feature is presented in the included image
 (parentheses added in another application).

Hmm. For some reason Gmail preview messes up the image. It probably
doesn't like grayscale images. Here it comes again in full RGB.

-Risto
attachment: parenthesizing_note_head_and_accidental_rgb.png___
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Re: Parenthesizing a note head /and/ the preceding accidental?

[Risto Vääräniemi]

2008/10/10 Valentin Villenave [EMAIL PROTECTED]:

 Looks a lot like
 http://code.google.com/p/lilypond/issues/detail?id=155 to me :-)

Well, yes and no. :-)

In the case of issue 155 it's quite easy to create a workaround. E.g.
\once \override Score.AccidentalPlacement #'right-padding = #0.4
\parenthesize cis

However, what I'm asking for would be a different way to place the parentheses:
( # note ) versus the current # ( note ). One option might be creating
a markup () and use extra-offset to lower / raise it around the
note and accidental. Can anyone think of a way that's not so blunt?
:-)

-Risto


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Re: Piano staff, single staff polyphony and lyrics

[Risto Vääräniemi]

Terve Ari,

2008/10/8 Ari Torhamo [EMAIL PROTECTED]:

 It works, it works! Now I can get forward with what I'm doing :-)

 One more thing. I tried to add \lyricsto to the line above, but this
 caused an error message. I'm trying to align the lyrics to the melody,
 so that it wouldn't be necessary to add the durations by hand. Is there
 a way to get this to work with the structure I'm using?

Try modifying the following lines like this:

sopraano = \relative c'' \context Voice = sopraano {

\new Lyrics \lyricsto sopraano \sanat

(and of course Trevor's \accept trick.)

This creates a voice context to which you can attach the lyrics.

Just out of curiosity... Are you using PianoStaff for music with
lyrics in purpose instead of e.g. ChoirStaff?


-Risto


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Re: Headword for unfretted-strings

[Risto Vääräniemi]

2008/10/7 Jonathan Kulp [EMAIL PROTECTED]:
 Oh man, I really don't know about the copyright.  If it was published in
 1905, then it's in p.d. in the U.S.

In Europe (European Economic Area) the term of copyright ends when the
author has been dead for more than 70 years. Ravel died in December
28, 1937 so almost 71 years has passed since his death. Based on that
Ravel's music should be PD. If Valentin has more accurate information,
feel free to correct me.

-Risto


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Re: Headword for unfretted-strings

[Risto Vääräniemi]

2008/10/7 Nick Payne [EMAIL PROTECTED]:
 You can remove the time signature like so:

Or:

\override Score.TimeSignature #'stencil = ##f

t.
Risto

 -Original Message-
 From: [EMAIL PROTECTED]
 [mailto:[EMAIL PROTECTED] On
 Behalf Of Jonathan Kulp
 Sent: Tuesday, 7 October 2008 22:04
 To: Trevor Daniels
 Cc: Lilypond-User List
 Subject: Re: Headword for unfretted-strings

 Could you email me the code with
 the time sig removed?  I've never figured out how to do this except by
 making it transparent, which looks ugly b/c there's a blank space.  I
 want to see how you did it.


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Re: Lyric tie glyph not found (directory separator problem?)

[Risto Vääräniemi]

2008/10/2 Valentin Villenave [EMAIL PROTECTED]:

 You might need to rebuild FontConfig's cache; delete the folder named
 C:\Documents and Settings\yourname\.lilypond-fonts.cache-2
 then launch a new compilation.

Ah, it was in the profile folder. I suspected that the cache was the
culprit because LP / Pango could find other fonts from the system font
folder (Verdana for chords). I tried to search for it in the LP
installation folder but naturally couldn't find it.

I'll try it this evening. Thanks again.

-Risto


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Re: Lyric tie glyph not found (directory separator problem?)

[Risto Vääräniemi]

Hi Mats,

2008/10/2 Mats Bengtsson [EMAIL PROTECTED]:
 Have you read the warning about the font you need, in
 http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Entering-lyrics#Entering-lyrics

Yes, I have seen it. I'm using the standard Century Schoolbook font
from LP distribution and because it works on my other computers I
guess it does have the glyph. I've even copied the font to
Windows\Fonts folder but that didn't help.

-Risto


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Re: Lyric tie glyph not found (directory separator problem?)

[Risto Vääräniemi]

2008/10/2 Mats Bengtsson [EMAIL PROTECTED]:

 Note that Pango (the font handling library used in LilyPond) may pick
 different symbols from different fonts, so even if the rest of the text is
 typeset using the standard Century Schoolbook font, the lyric tie is
 typically taken from a separate font since it's not found in Century
 Schoolbook.

Ah, thanks. When you first read the section (and I've read it several
times) it doesn't clearly say that the Schoolbook does not have that
glyph. It is sort of hinted in a round about way if you read the
section a couple of times more with some serious thought. Or maybe I'm
just a bit thick. :-)

The file on my work computer says it had used these fonts:
%%DocumentSuppliedResources: font ArialUnicodeMS
%%DocumentSuppliedResources: font CenturySchL-Roma
%%DocumentSuppliedResources: font Emmentaler-20
%%DocumentSuppliedResources: font feta-alphabet20

My home computer has the Arial font but it's not probably Unicode
compatible. I'll have to copy it there.

Anyway, thanks for the pointer once more.

-Risto


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Re: Lyric tie glyph not found (directory separator problem?)

[Risto Vääräniemi]

On 02/10/2008, Valentin Villenave [EMAIL PROTECTED] wrote:
 Is there a way to tell Pango, which font to use for this lyric tie? If
 I have both Arial Unicode and DejaVuLGC installed and would like to
 specify that DejaVuLGC was used.

Alright, I installed the same font that worked in the other setup,
Arial Unicode that is (arialuni.ttf). Still LP cannot find the font
even if it is in C:\Windows\Fonts folder. I also tested the DejaVuLGC
but the result was the same.

I even uninstalled LP an reinstalled it several times rebooting in
between. I'm slowly running out of ideas. Does anyone have any
pointers that might help? If you think a verbose log file might help
solving this, I'll be happy to send you one.

-Risto


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Lyric tie glyph not found (directory separator problem?)

[Risto Vääräniemi]

Hi,

Something strange just happened. I tried to use the lyric tie (~) in
one song and LP complained that it couldn't find the glyph. These kind
on messages usually appeared when the file wasn't saved as UTF but
this time the same file works on my work computer (don't tell my
boss).

The directory separators seem to be / instead of \. That could be the
reason why LP / Pango / whatever cannot find the file. If that's the
next question is why have the separators changed in the first place.

I'm using XP Pro SP3 on a MacBook. Does anyone else run LP on Boot
Camped Mac? Any problems?

-Risto


GNU LilyPond 2.11.61
Processing `lyric_tilde.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
programming error: FT_Get_Glyph_Name () error: invalid argument
continuing, cross fingers
programming error: Glyph has no name, but font supports glyph naming.
Skipping glyph U+1000203F, file C:/Program Files/LilyPond_2.11.61/usr/share/
lilypond/current/fonts/otf/CenturySchL-Roma.otf
continuing, cross fingers
programming error: FT_Get_Glyph_Name () error: invalid argument
continuing, cross fingers
programming error: Glyph has no name, but font supports glyph naming.
Skipping glyph U+1000203F, file C:/Program Files/LilyPond_2.11.61/usr/share/
lilypond/current/fonts/otf/CenturySchL-Roma.otf
continuing, cross fingers
programming error: FT_Get_Glyph_Name () error: invalid argument
continuing, cross fingers
programming error: Glyph has no name, but font supports glyph naming.
Skipping glyph U+1000203F, file C:/Program Files/LilyPond_2.11.61/usr/share/
lilypond/current/fonts/otf/CenturySchL-Roma.otf
continuing, cross fingers
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `lyric_tilde.ps'...
Converting to `./lyric_tilde.pdf'...


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Re: Lyrics, Staff and dynamics

[Risto Vääräniemi]

2008/9/29 Dmytro O. Redchuk [EMAIL PROTECTED]:
 i guess: since dynamics are parts of Voice context,
 and Lyrics is a separate context (of the same level) --
 it is impossible to place dynamics far from staff than lyrics
 (to place lyrics between staff and dynamics).

I've been wondering that too and I've found no easy solution so far.
However, I must admit that I've been naughty and used extra-offset to
do the trick. :-)

-Risto


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Re: How to get text width in Scheme?

[Risto Vääräniemi]

2008/9/21 Han-Wen Nienhuys [EMAIL PROTECTED]:

 This is sort-of a bug. The 'font is only set in C++, from

 Font_interface::get_default_font (Grob *me)

 we should change this so it uses the standard property calculation
 scheme. Then your sample code works correctly.

Ah, thanks for the info. Nice to hear that the problem wasn't just
inside my head. :-)

Should this be added to the bug tracker as a feature request or whatnot?

-Risto


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How to get text width in Scheme?

[Risto Vääräniemi]

Hi all,

Can someone tell me how I can get the text width inside scheme?

There's a method called ly:text-dimension that takes font metric and
the text as parameters and gives the dimensions. Alright - I should
get the font metric somehow. I tried (let ((fontMetr (ly:grob-property
BarNumber 'font))) (...)) but the fontMetr is not a font metric
(ly:font-metric? returns false) although the description in
font-interface made me think so.

In the end I'd like to have a function that could be used for
positioning the bis'd bar number so that the number part would be
aligned just like the normal bar numbers – right edge aligned with the
left edge of the staff. I could use extra-offset to move it but that
would not be nice. :-)

Trevor Daniels explains very well how to attach the bis part but the
alignment is still not optimal:
http://lists.gnu.org/archive/html/lilypond-user/2008-03/msg00195.html

I won't ask anything about ly:make-simple-closure yet. That'll come later. ;-)

-Risto


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Re: How to get text width in Scheme?

[Risto Vääräniemi]

Hi Valentin,

2008/9/19 Valentin Villenave [EMAIL PROTECTED]:
 2008/9/19 Risto Vääräniemi [EMAIL PROTECTED]:

 Can someone tell me how I can get the text width inside scheme?

 I think you might be interested in using ly:stencil-extent
 (not sure though)

Yes, that might be another option. However, I've got a egg-hen problem
here. Trevor's code creates the X bis text/stencil and I would like
to move the whole schmeer to the right by the width of the  bis. I
can get the width of the BarNumber #'stencil but that's not enough
because the width already contains the width of the  bis. The
X-offset is taken into account after the stencil has been formed.

It seems that there is a way to change a piece of text into a stencil
(fontify-text), however that uses the same ly:text-dimension
font-metric text function. :-) Is there another way?

I was hoping for something like this:
#(define (bar-number-X BarNumber)
 Move the text right by the width of bis
 (let* (
(textBis  bis)
(extentOrig (ly:stencil-extent (ly:grob-property BarNumber 'stencil) 0))
(widthOrig (- (cdr extentOrig) (car extentOrig)))
(widthBis (ly:some-magical-function-to-get-width textBis)))
(- widthBis widthOrig)))

I could use it like this BarNumber #'X-offset = #bar-number-X

This might be usable only for bar numbers that are positioned at the
beginning of the staff. It would be a nice feature, anyway.

-Risto


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Re: fong shape of fingering

[Risto Vääräniemi]

Hi Stefan,

2008/9/18 Stefan Thomas [EMAIL PROTECTED]:
 2008/9/18 Bertalan Fodor (LilyPondTool) [EMAIL PROTECTED]

 Try to set font-encoding to #f
 That may switch back to text font style

 Stefan Thomas wrote:

 Ok.
 What I really want is to change the fingerings to look like
 tuplet-numbers. But I don't know how to do this.

Try:

%%%
\version 2.11.49

ohnezahl = { \override TupletNumber #'stencil = ##f }

triol = \markup { \tiny { \italic 3 } }

\new Staff \relative
{
\override Score.Fingering #'font-encoding = #'latin1
\override Score.Fingering #'font-family = #'roman
\override Score.Fingering  #'font-shape  = #'italic
\ohnezahl
\times 2/3 {c,8 d^3 f} g2.
}
%%%

Adjust the font size to your liking.

-Risto


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Re: fong shape of fingering

[Risto Vääräniemi]

On 18/09/2008, Bertalan Fodor (LilyPondTool) [EMAIL PROTECTED] wrote:

 \override Score.Fingering #'font-encoding = #'latin1

 Well, there is not a single word in the documentation about that latin1
 is a valid value for font-encoding.

You could be right. :-) I once struggled trying to use normal serif
font with volta brackets and Mats told me this trick.

http://lists.gnu.org/archive/html/lilypond-user/2007-12/msg00268.html

-Risto


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Re: (Layout nitpick) Time signature irregularities (mainly 9/4)

[Risto Vääräniemi]

Continued from another topic:
http://lists.gnu.org/archive/html/lilypond-user/2008-09/msg00553.html

2008/9/16 Neil Puttock:
 2008/9/15 Risto Vääräniemi:
 How did you get that image? In Lilypond or in Fontforge (or something
 else)? I'd like to see if the numbers in Emmentaler have different
 bounding boxes because they are not correctly aligned in time
 signature  (at least on Windoze - on Mac they behave better).

 \markup \override #'(box-padding . 0) \rounded-box \musicglyph #pedal.*

 I'm afraid I can't verify your alignment problems under 2.11.57;
 though I can only test .57 under Windows, I can't see any difference
 between XP SP3 x86 (2.11.57) and Ubuntu x86-64 (compiled from current
 git).  Judging by your images, both time signatures are misaligned,
 since the curve at the base of the `4' isn't visible.

 Have you tested 2.11.58 yet?

Yes. I just installed it on my XP SP2 and W2k SP4 and they both give
the same results. :-( I haven't installed .58 on my Mac yet because
the port seems to be broken. On my Fedora Core 6 box (.58) the curve
of the 4 is visible so that seems to be OK.

Strange. I even removed the Emmentaler (and CentShclBk) fonts in my
Win\Fonts folder if they were corrupted somehow. No effect.

I've attached the source and the resulting PDF for you to see.

-Risto


\version 2.11.56

\relative c'
{
\override Staff.TimeSignature #'style = #'numbered
\time 9/4
c2 c c c c4
\time 3/4
c2 c4
\time 2/4
c2
\time 4/4
c2 c
\time 5/4
c2 c c4
\time 6/4
c2 c c
}



time-sig_weirdness_58_on_XP.pdf
Description: Adobe PDF document
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Re: piano pedal vertical alignment question

[Risto Vääräniemi]

Hi Neil,

2008/9/14 Neil Puttock [EMAIL PROTECTED]:

 No, unless you're compiling from source.  The asterisk's bounding box
 is hard-coded during font generation (see attached image).

How did you get that image? In Lilypond or in Fontforge (or something
else)? I'd like to see if the numbers in Emmentaler have different
bounding boxes because they are not correctly aligned in time
signature  (at least on Windoze - on Mac they behave better).

See:
http://lists.gnu.org/archive/html/lilypond-user/2008-09/msg00207.html

-Risto


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(Layout nitpick) Time signature irregularities (mainly 9/4)

[Risto Vääräniemi]

Hi,

I just noticed that the different time signature numbers are aligned
differently. For instance the 4 in 9/4 is placed a lot lower than in
5/4. I've included two images displaying the issue.

How is this placement done and what might lead to these differences?
Do different numbers have different sizes or something else?

-Risto
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Re: (Layout nitpick) Time signature irregularities (mainly 9/4)

[Risto Vääräniemi]

2008/9/8 Risto Vääräniemi:

 I just noticed that the different time signature numbers are aligned
 differently. For instance the 4 in 9/4 is placed a lot lower than in
 5/4. I've included two images displaying the issue.

Forgot... I got these results with 2.11.56 and .57 on Win XP.

On OSX (2.11.56) the 4 seems to be placed closer to the 9.

-Risto


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Re: Stem Combining

[Risto Vääräniemi]

2008/9/4 Mats Bengtsson :
 I'm surprised that nobody has mentioned \partcombine, so far. It's probably
 the closest you can
 get to your wishes, with the built-in support in LilyPond. See Section
 Automatic part combining
 in the manual for more information. Note that the current part combiner has
 a number of issues, though.

Yes, it has. I tried once to combine soprano and alto voices and
although it produced fine looking music the biggest obstacle was
attaching lyrics to the combined voice. It might be possible to use
it by using associatedVoice but that was too complex and I decided to
create the voice by hand with chords x y.

If someone has found out  a solution that will allow attaching lyrics
to partcombined voice I'd be very happy to hear of it. :-)

-Risto


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Re: Stem Combining

[Risto Vääräniemi]

2008/9/4 James E. Bailey [EMAIL PROTECTED]:

 What's the problem?

 \score {
   
  \new Staff \with { printPartCombineTexts = ##f }  \partcombine
 \voiceone \voicetwo 
  \new Lyrics \lyricsto voice one \words
   
 }

Thanks for the tip. I was trying to attach the lyrics to the combined
voice and not to an original one. Based on the section Automatic part
combining I thought that the original voices wouldn't exist after the
partcombine. This would be a nice addition to the LSR if it was up
(and if this isn't already there). :-(

-Risto


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Re: Stem Combining

[Risto Vääräniemi]

2008/9/4 Risto Vääräniemi:
 2008/9/4 James E. Bailey:

 What's the problem?

 Thanks for the tip. I was trying to attach the lyrics to the combined
 voice and not to an original one. Based on the section Automatic part
 combining I thought that the original voices wouldn't exist after the
 partcombine. This would be a nice addition to the LSR if it was up
 (and if this isn't already there). :-(

Sorry for troubling you again.

I am not able to make your example work. If I use it as is (except add
\version 2.11.56 and \include deutsch.ly or suomi.ly) the stems
point in opposite directions. I have to remove the \context Voice =
voice one and reverse the voices inside partcombine to actually get
the voices combined. However then I can't use the lyrics. :-(

Should I upgrade to 2.11.57?

-Risto

%
\version 2.11.56

\include deutsch.ly

voiceone = \context Voice = voice one \relative {
  \stemDown
  c'4 h a g f e d2 c1
}

voicetwo = \relative {
  \stemUp
  e'4 d c h a g a^( h) c1
}
words = \lyricmode {
  I vii vi V IV iii ii vii I
}

\score {
  
\new Staff \with { printPartCombineTexts = ##f }
 \partcombine \voiceone \voicetwo 
\new Lyrics \lyricsto voice one \words
  
}
%
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Re: Stem Combining

[Risto Vääräniemi]

2008/9/4 James E. Bailey [EMAIL PROTECTED]:
 What were you looking for in terms of combining?

I was hoping to get results as presented in the attached image
(situation was staged).

I had one song that I wanted to cram into a smaller space. Since all
the rhythms were the same on both voices I decided to put the stems in
the same direction. Opposite stems would have taken too much space. To
get this result I had to use chords.

-Risto
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(Bug?) Hidden staves take space if there are lyrics

[Risto Vääräniemi]

Hi,

It seems that if I remove the empty staves using
RemoveEmptyStaffContext everything is usually OK if there are not
lyrics. There's equal amount of space between the staves. However, if
I throw in some lyrics the spacing is messed up and the invisible
staves start taking some space. If there are lyrics you can see the
difference when you compare the space between the first and the second
stave and between the second and the third. If there's no lyrics the
spacing is normal (between 3rd and 4th staves).

Is this a known feature / issue or a new bug? Is there a workaround
for it? I tried to search the bug repository but could not find
anything similar.

-Risto


%%%
\version 2.11.56

\paper {
ragged-right = ##t
indent = 0\mm
between-system-padding = 0\mm
}

\score {

\new Staff {
c'1 c' \break
c' c' \break
c' c' \break
c' c'
}
\addlyrics { foo bar foo bar  }
\new Staff {
c'1 c'
s s
s s
c' c'
}
\addlyrics { foo bar }


\layout {
\context {
\RemoveEmptyStaffContext
}
}
}
%%%
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Re: lyrics and repeat

[Risto Vääräniemi]

Hi,

2008/9/1 Grammostola Rosea [EMAIL PROTECTED]:

 Can someone tell me why D.S. is not at the end of the bar, but on the
 beginning? How do I change that?

You are using it as a \mark and it is now attached to the next bar line.

You could try: r2 ^\markup D.S..

 Why isn't the second coda sign not displayed? Thanks in advance.

It is sort of a consequence of the D.S.. You have both D.S. and coda
sign assigned to the same position (bar line). I guess the second got
canceled.

If I have understood correctly, for Lilypond the D.S. and codas are
just text and you cannot loop music i.e. MIDI with them. They are
just visual aids for the real performer as James already pointed out.
Therefore, you don't need to contain the D.S. or coda parts inside
curly brackets.

If I'm wrong I'll take the lashing. :-)

-Risto


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Re: custom titles example doesn't work

[Risto Vääräniemi]

Hi Tom,

2008/8/26 Tom Cloyd:

 So by specifying odd... but NOT even... I was trying to be clever and
 specify both in one statement. The documentation, to me, indicates that this
 is possible, and even a designed in feature. That would be perfect, since
 what I'm wanting is a title on each page, so that loose page are identified
 as to the piece they're from. A reasonable idea, no?

 I'm not sure what to do at this point.

Is this what you're after?

%%% start %%%
\version 2.11.56

\header
{
title = Foo Bar opus 1
composer = John The Composer
}

#(define (not-first-page layout props arg)
(if (= (chain-assoc-get 'page:page-number props -1)
(ly:output-def-lookup layout 'first-page-number))
empty-stencil
(interpret-markup layout props arg)))

\paper
{
oddHeaderMarkup = \markup {
\fill-line { \on-the-fly #not-first-page
{ \fromproperty #'header:title
\fromproperty #'header:composer }}
}
evenHeaderMarkup = \markup {
\fill-line { \fromproperty #'header:title
\fromproperty #'header:composer }
}
ragged-bottom = ##t
ragged-last-bottom = ##t
}

{
c'1 \pageBreak c' \pageBreak c' \pageBreak c'
}
%%% END %%%

-Risto


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Re: custom titles example doesn't work

[Risto Vääräniemi]

2008/8/26 Tom Cloyd:
 You're asking ME? Like I'd know? Thanks so much for the code. I'll have to
 study up on it a bit, as it's not exactly something I can readily understand
 at this point. It'll be good for me to dig into this, no doubt.

I'm sorry for messing you up. You don't need to add the #(define
(not-first-page stuff. I didn't notice that the not-first-page
function is already present in titling-init.ly inside LP installation.

I wonder if you already had a look at the titling-init.ly. There are
some examples how the standard LP headers are constructed and the
usage of first-page, not-first-page and other functions are shown
there. That helped me a lot when I tried to understand the header
stuff.

 So, next I try it with even... It prints title and composer on page 2,
 but wipes out the page number. That's not exactly what I had in mind.
 Man, I gotta figure this out before I score my next symphony (heh heh).

The new example has page numbers, too. :-)

-Risto

Updated source:
%%% start %%%
\version 2.11.56

\header
{
title = Foo Bar opus 1
composer = John The Composer
}

\paper
{

oddHeaderMarkup = \markup {
\fill-line {
\on-the-fly #not-first-page {
\concat {
page  \on-the-fly #print-page-number-check-first
\fromproperty #'page:page-number-string  – 
\fromproperty #'header:title
}
\fromproperty #'header:composer
}
}
}
evenHeaderMarkup = \markup {
\fill-line {
\fromproperty #'header:title
\concat {
\fromproperty #'header:composer  – page 
\on-the-fly #print-page-number-check-first
\fromproperty #'page:page-number-string
}
}
}

ragged-bottom = ##t
ragged-last-bottom = ##t
}

{
c'1 \pageBreak c' \pageBreak c' \pageBreak c'
}
%%% END %%%


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Bug? Vertical spacing algorithm changed? (lyrics move notes)

[Risto Vääräniemi]

Hi,

I just compiled a piece of music that I created earlier this summer
and I noticed that if I modify the minimum-Y-extent the lyric text
sometimes moves the following notes. I wonder if this is a deliberate
change or a bug?

The behaviour changed between 2.11.52 and 2.11.53.

I have attached two example images and the code (not very minimised
but hopefully understandable).

-Risto

%%
\version 2.11.48

one = \relative c'
{
  r4 a a a
}

two = \relative c' \new Voice = vTwo
{
  c2  c
}

words = \lyricmode
{
  Something...
}

\score
{
  
\new Staff = sOne { \one }

\new Staff = sTwo { \two }

\new Lyrics \with {alignAboveContext = sTwo}
  \lyricsto vTwo \words
  

  \layout
  {
\context
{
  \Lyrics
\override VerticalAxisGroup #'minimum-Y-extent =
  %#'(-0.75 . 2.0) %% default values give normal results
  #'(-0.5 . 0.5) %% custom values don't
}
  }
}
%%
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Re: Ending volta problem with ChoirStaff

[Risto Vääräniemi]

Hi Dmytro,

2008/8/11 Dmytro O. Redchuk:

Well, i run into a problem with ending volta -- see file attached,
ending volta continued after line break, but this continuation
disappears if i uncomment additional staves (see \score { ... }
section). So, there is no ending volta continuation after line break
if i have more than one staff... or, probably, problem is somewehere
in another place.

Sorry for, probably, too verbose example.

What's wrong? -- please, help.

You could remove the Span_bar_engraver from ChoirStaff context.
Somehow that messes things up. I guess it's there for a purpose,
though, so that's not an option.

An alternative is to remove the Volta_engraver from Score context (in
layout block) and add it to the topmost Staff. However, that puts the
Volta bracket under the dynamics. You could modify the vertical
ordering by using outside-staff-priority to put the volta back on top.

Thus, the topmost staff should be initialised like this:
\new Staff = upperstaff \with {\consists Volta_engraver
\override Staff.VoltaBracketSpanner #'outside-staff-priority = #500} 

You can also put the \override Staff inside soprano part if you like.

There may be other solutions but these came off the top of my head.

-Risto


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Re: Tie control-points delete another tie

[Risto Vääräniemi]

Hi,

My mail probably belongs better to the user list so I post it there...

Trevor Daniels wrote:
 It's not clear what you are trying to achieve here,
 as the ties without the override look ok.

I don't know about Marco's intentions but I once had a similar case. I
got around by using both slurs and ties. That way you can adjust both
separately, e.g.;

\once \override Slur #'control-points = #'(.)
\once \override Tie #'control-points = #'(.)
c e( ~ c e)

I guess Lilypond doesn't really recognise that there are several
voices on one staff. Therefore, the slurs and ties of one voice may
collide with the notes of the other voices. In one song I had a
divided soprano, a divided alto and a soprano solo (5 voices) on one
staff. To get acceptable results I had to heavily modify the ties and
slurs to get acceptable results.


-Risto


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Re: Markup and music side by side

[Risto Vääräniemi]

Hi Kieren,

On 10/07/2008, Kieren MacMillan wrote:

 Don't forget that \markup can include \score (as long as that \score
 includes a \layout):

Sounds very promising. Thank you very much, Kieren (again :-)).

I already wrote the piece using CorelDraw to place the instructions
and the choir parts but it's certainly worth a couple more hours to
make the layout work with just LP.

-Risto


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Markup and music side by side

[Risto Vääräniemi]

Hi,

I was wondering if there's a way to put a markup block, e.g., on the
left side of the paper and the music on the right side of the page? I
am wrestling with quite a peculiar piece that consists of snippets of
music and performing instructions and I'd like to put the text next to
the music.

I guess it's possible in lilypond-book. However if that's the only
option I'll probably use some other software to place the LP-generated
systems and the text.

-Risto


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Re: Moving horizontally a \markup block that's outside score

[Risto Vääräniemi]

2008/7/3 Kieren MacMillan:

 One solution is to use \translate.

 Hope this helps!

Oh, yes. That did the trick. Thanks, Kieren.

-Risto


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Re: \repeat with upbeat (partial) and alternatives

[Risto Vääräniemi]

2008/7/4 Reinhold Kainhofer:

 Actually, all choir scores that I have do it exactly this way. I have never
 seen any choir score, where the volta does not span whole measures.

I have. I'm writing a song book right now and during the process I've
seen a couple. I'm trying to avoid such things, though. I've attached
a real-world example. Hopefully it gets through, the size is 27 kB.

Do you think it's OK to change a song that way: changing partial
repeats to full repeats and adding alternative endings, which wouldn't
have existed with the partial repeat version?

More common are songs that begin with an upbeat and have two or more
verses. They are often ended with a measure that's not written to the
full length so that the subsequent verses can be started with an
upbeat, too.

-Risto
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Re: metronome mark position

[Risto Vääräniemi]

2008/7/4 Libero Mureddu:
 Hi,
 I'm trying to play a bit with the metronome mark and the \mark \markup
 commands in order to have a unified way to set the tempo in my scores,
 but I'm a bit lost:
 the three rules I know for that are:
 1) if there's a time signature, the tempo should be left aligned with it,
 2) if there's a long key signature, the tempo should be aligned in the
 middle of it,
 3) if there's no time/key signature, but just a tempo change (as in
 più mosso etc), the tempo should be aligned with the leftmost note
 of the bar.

This sounds interesting. Unfortunately, I cannot answer your questions. :-(

I tried to search the documents (LM, NR, IR) but could not find a list
of break-align-symbols that are available. Any pointers, where they
could be found?

-Risto


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Re: Chord Charts - rhythm and chords

[Risto Vääräniemi]

2008/7/3 Chris Gray :

Am Donnerstag, 3. Juli 2008 schrieb Johan Vromans:
 Is there a way to avoid the naturals and sharps? They're rather
 meaningless.

 Because b natural is used in the myrhythm in the first measure, a natural is
 used before that note head in the first measure.  Carl was just illustrating
 that pitch changes don't affect note head vertical positions. The best
 practice, I assume would be to use the root note of the chord rather than
 random notes and the accidentals should disappear.

At first I couldn't understand the comment Johan wrote. I had compiled
Carl's example with 2.11 and it didn't create any extra accidentals.
After I compiled it with 2.10 I got the point. :-)

-Risto


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Moving horizontally a \markup block that's outside score

[Risto Vääräniemi]

Hi,

I was wondering if it's possible to move around a \markup block that's
outside the \score block. Inside the music section you can do wonders
with \override TextScript #'whatever but I couldn't come up with a
solution for this situation. I've attached an example below.

I'm asking this is because I am writing a song with several verses and
as usual there's not too much space at the end of the song. The markup
lines are creeping off to the right and if I just could move the whole
markup a bit to left then it would look OK.

-Risto

%%%
\version 2.11.49

\paper { indent = #0 }

{
\new ChoirStaff

\new Staff { c'2 c' }
\new Staff { c'2 c' }

}

\markup
{
\column { How to move this horizontally?
Preferably up to the thick line on the left.}
}
%%%
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Re: Vertical Collision

[Risto Vääräniemi]

Hi Jeffrey,

2008/6/22 Jeffrey Vos:

 I'm pretty new at using LilyPond, but I'm trying to engrave some of my
 marching band music using it. I have a tuplet with a marcato marking
 underneath, and I cannot figure out how to keep the marcato marking from
 colliding with the tuplet. I've included a trimmmed down version of the code
 below and any help or suggestions would be greatly appreciated. Thank you.

With 2.11.49 the markup does not collide with the tuplet bracket. With
2.10 you could try increasing the padding of the markup.

%%% Begin %%%
\version 2.10.33

\paper { ragged-right = ##t }

\relative c' {
 \clef bass
 \time 4/4
   a2 \times 2/3 {\once \override TextScript #'padding = #2
   a4_\markup { \italic marcato } a a}
}
%%% END %%%

-Risto


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Re: minimumVerticalExtent minimum-Y-extent

[Risto Vääräniemi]

2008/4/8 Mats Bengtsson :

 \layout  {
  \context {
\Lyrics
  \override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
  }
 }

 was 'working'.

 Yes, but as you have seen, it redefines all Lyric contexts in the score.

 Now, how do I keep the 'above default spacing' for the first verse?

 To do settings for only one specific instantiation of a context, use the
 \with construct:
 \new Lyrics \with {\override VerticalAxisGroup #'minimum-Y-extent = #'(0 .
 0) }
  { Here comes the ly -- rics }

I noticed that \override VerticalAxisGroup #'minimum-Y-extent works
with lyrics only in certain conditions.

If the lyrics start at the beginning of the piece it works. However,
if there's a rest before the music and the lyrics begin the
minimum-Y-Extent doesn't seem to work anymore. The global setting
works, of course, but the explicit settings for single voices don't.

Here's an example... There should be a huge gap on top of the first
lyrics. There's not. The setting works with the second lyrics.

 Begin 
\version 2.11.48

{

% Remove the R1 to apply the minimum-Y-extent.
{ R1 c'2 c' }
\addlyrics {
\override Lyrics . VerticalAxisGroup #'minimum-Y-extent =
#'(-0.5 . 20) Tra la! }

{ c'2 c' c' c' }
\addlyrics {
\override Lyrics . VerticalAxisGroup #'minimum-Y-extent =
#'(-0.5 . 5) Tra la la la! }

}
% END %

It could be that I'm not using the setting correctly. If that's the
case, could someone point me in the right direction?

-Risto


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Re: minimumVerticalExtent minimum-Y-extent

[Risto Vääräniemi]

2008/6/13 Trevor Daniels:

 The \addlyrics construct does have its limitations due to relying on the
 implicit creation of the various contexts, and this seems to be one of them,
 although I would regard this as a bug.

 If you specify the contexts explicitly you can use the \with construct,
 which does seem to work as you would like:

Thanks a lot, Trevor.

I don't usually use \addlyrics to but the same happens with \lyricmode, too.

It would also be nice to be able to adjust the vertical lyrics spacing
(e.g. with minimum-Y-extent) separately for each system. That cannot
be done with minimum-Y-extent, though. Sometimes I've used dummy lyric
lines with \markup {  } where I want to add some more space. That
cannot be used for fine tuning, though. :-)

-Risto


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Re: minimumVerticalExtent minimum-Y-extent

[Risto Vääräniemi]

2008/6/13 Mats Bengtsson :

 \lyricmode has nothing to do with it. It just tells the part of Lilypond
 that interprets your .ly file, that anything within the \lyricmode{...}
 should be treated syntactically as lyrics and note as note names.
 What you probably mean is that happens with \lyricsto.
 However, Trevor just showed you how to do it together with \lyricsto.

I used a wrong term, sorry. However It would be nice to be able to
make such a setting inside the \lyricmode (and the \lyricsto would
interpret it correctly). As I said earlier I can use it but only if
the music and lyrics start at the beginning of the piece.

 Please read Trevor's answer ones more, he showed you exactly how to do this.

Yes, he did I must admit. After an hour of tinkering I finally found a
way. :-) I wouldn't say it's very convenient, though. The solution I
came up with requires additional voices and lyrics. I thought that If
I want to use different minYextents for different parts of lyrics I
would have to add the parts separately and attach them to different
voices.

Here I have a melody (very boring, though :-)), which is divided on
two lines with a \break. Then I'd like to use different spacing
between the staff and the lyrics on different lines / systems. If the
world was perfect I could just use: music = (stuff removed) { c2 c c
\break c c  }, and: words = \lyricmode { Tra la la
\someMagicTrickForSpacing Fa la  }.

Sometimes I've used fixed-alignment-extra-space to make the systems
bigger. Then I've used extra-offset to move the lyrics up and down.
I'm still a bit ashamed of doing it. :-)

-Risto

 Begin 
\version 2.11.48

musicA = \relative c' \context Voice = musicA
{
c2 d e f \break
\context Voice = musicB { g a b c }
}

wordsI = \lyricmode
{
Tra la la la!
}

wordsII = \lyricmode
{
Fa la la la!
}

\score
{

\new Staff { \musicA }
\new Lyrics \with { \override VerticalAxisGroup
#'minimum-Y-extent = #'(-0.5 . 1) }
{\lyricsto musicA { \wordsI } }
\new Lyrics \with { \override VerticalAxisGroup
#'minimum-Y-extent = #'(-0.5 . 3) }
{\lyricsto musicB { \wordsII } }

\layout { }
}
 END 


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Re: no midi file in the new lilypond for Windows

[Risto Vääräniemi]

Dear Annette,

2008/6/10 ANNETTE GIESBRECHT :
 The last time I used LilyPond, I got ps files that were to open in my media 
 player, but since I have windows I cannot use them.   I cannot see the midi 
 files.  the one that I downloaded was 2.11.48-1.  So even though I can see 
 the sheet music, I cannot play a midi file since there is no midi file 
 available.  What can I do?

Do you have a \midi section inside a \score section? If you don't you
won't get a midi file.

For example:

%% BEGIN %%
\version 2.11.48

\score
{
{
c'1
}
\layout { }
\midi { }
}
%% END %%

-Risto


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Re: Font difference between 2.11.23 and GDP

[Risto Vääräniemi]

2008/6/6 Palmer, Ralph:
 Greetings -

 I'm running LilyPond 2.11.23 under Windows XP SP2. I've been working on
 Repeats in the GDP. To demonstrate the behavior of manually setting
 repeat signs and brackets, I borrowed from LSR snippet 316, modified it,
 and included it in Repeats. I tested my modified version before
 submitting it, and it worked fine, but the GDP engraved version appears
 differently.

 Can anyone explain the difference?

The behaviour of repeatCommand has changed since 2.11.23.

To get the same output with a newer version you have to change the
font-encoding to latin1. Otherwise the font-name won't have any
effect.

I think you could also use markup as discussed in the thread below.
http://lists.gnu.org/archive/html/lilypond-devel/2008-05/msg00333.html

-Risto


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Re: Dynamics and kerning

[Risto Vääräniemi]

2008/5/13 Kim Bastin :
 I find the kerning of dynamics unsatisfactory, indeed I'm not sure that it's
 happening at all. ff is spaced too wide, with visible daylight between the
 f's; mp is squashed too close together. These pairs are the worst; pp, sf,
 fz look okay.

Have you tried sp? I think that wins the game. :-) The s collides with
the p quite hard. I had to override it with:

sp = #(
 make-dynamic-script (
   markup #:line (
 #:dynamic s
 #:hspace -1
 #:dynamic p
)))

That's probably not very elegant but it's better than the default one.

-Risto


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Re: Lyrics and slurs and articulation

[Risto Vääräniemi]

2008/5/8 Jean-Alexis Montignies :

  On the three first notes of the theme are to be played legato, but with a
 sylable on each note. I tried a phrasing slur, but then it collides with an
 articulation (I'm using 2.11.33).

You could use \set ignoreMelismata = ##t. To switch it off, use \unset
ignoreMelismata.

-Risto

%
\version 2.11.33 % for J-A's purposes

{
c'4( c' c') c'
}
\addlyrics
{
\set ignoreMelismata = ##t
Tra -- \unset ignoreMelismata la -- lah!
}
%


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Re: Lyrics, barlines and whiteout

[Risto Vääräniemi]

2008/5/8 James E. Bailey:
 in 2.11, the text is typeset between the bars. That is, the text fits
 between the bars, and there's no need to white out part of the bar line to
 accommodate the text.

That's right. However, the lyric hyphens sometimes do collide with bar
lines. Is there a way to prevent that? Possibly by creating a white
rectangle between the bar line and the hyphen. The same happens
(obviously) with lyric extenders, too.

-Risto


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Re: custom metronome-markup procedure causes weird goops-error

[Risto Vääräniemi]

2008/4/29 Nicolas Sceaux :

  I think it's because there is no \concat markup command in 2.10.

  Untested:

Looks nice. :-)

It seems to work with .11  .10. In fact, the results look better this
way than with \concat. The space between the left parenthesis and the
note head is better matched with the space between the number and the
right parenthesis. If I may pick a nit a bit - with \concat there
could be a small \hspace between the parenthesis and the note. I
wouldn't have noticed it if you hadn't sent this version. :-)

-Risto


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Re: Moving a volta bracket vertically

[Risto Vääräniemi]

Dear Sven,

2008/4/27 Sven Axelsson :
  Could someone please tell
  me what the current way of moving the volta brackets down, possibly
  overlapping the music, would be?

I've been wondering that, too, but I've found no magic bullet so far.
Sometimes I have used extra-offset to lower the VoltaBracket to the
desired level. That, however, takes place after the spacing
calculations have already been made. On tightly set pages this is not
good.

Another way is to use Y-extent and minimum-Y-extent. In this case you
have to calculate (test) the right values for the Y extent and the
height of the bracket. The upside is that this way the spacing
calculations should be correct. See the example.

Question:
Could VoltaBracket be changed in such a way that it would sense the
skyline and lower itself closer to the staff if the stuff would not
collide with the bracket or the volta number?

-Risto



\version 2.11.43

\paper
{
ragged-right = ##t
}

\relative c'
{
\override Score.VoltaBracket #'edge-height = #'(3.0 . 3.0)
\override Score.VoltaBracket #'Y-extent = #'(0 . 0.0)
\override Score.VoltaBracket #'minimum-Y-extent = #'(-0.35 . 0.0)

\repeat volta 2 {
c1
}\alternative {{
c2 c^\f
}{
c2 c \bar |.}}
}

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Re: Metronome marks

[Risto Vääräniemi]

On 15/04/2008, Neil Puttock  wrote:

 I've taken the liberty of adding your snippet to the LSR as Creating
  simultaneous rehearsal marks. Like Alexander's snippet, it works
  better under 2.11, so it's also waiting for an LSR version change.

That's fine.

  I've removed the extra-spacing-width overrides, since they're the
  default setting for RehearsalMark.

Thanks for the tip. I copied them from the NR \tempoMark example and
thought they were important. Should they be removed there, too
(section 7.1.2)?

On 12/04/2008, Werner LEMBERG wrote:

 Apparently a piece for very aged people only :-)

:-)

A couple a decades ago there was a Finnish comedian / humoristic
singer called Esa Pakarinen. A story tells that one composer once
wrote that particular performance mark on a score to tell him to take
his false teeth off. It certainly adds a new angle to the performance.
:-)

-Risto


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