Re: Realigning the Meter header text to the center

[William Rehwinkel via LilyPond user discussion]

Dear Stephen,

In the future, could you please copy-paste the text into the email or 
attach it as a file? It will make it easier for us to start with that 
file instead of transcribing the text from a screenshot.


In the meantime, give this a try and see if it works. We can override 
the bookTitleMarkup variable which is defined in /ly/titling-init.ly 
like this. Let me know if this is what you were looking for.


Thanks,
-William

% 

\version "2.25.21"

\header {
  title="hymn title"
  composer = "composer"
  poet = "poet"
  tune = "tune name"
  meter = "C.M.D."
}

\relative c' c4

\paper {
  bookTitleMarkup = \markup {
\override #'(baseline-skip . 3.5)
\column {

  \fill-line { % this part is different
\null
\line {
  \fromproperty #'header:tune
  \fromproperty #'header:meter
}
\null
  }
  \fill-line { \fromproperty #'header:dedication }
  \override #'(baseline-skip . 3.5)
  \column {
\fill-line {
  \huge \larger \larger \bold
  \fromproperty #'header:title
}
\fill-line {
  \large \bold
  \fromproperty #'header:subtitle
}
\fill-line {
  \smaller \bold
  \fromproperty #'header:subsubtitle
}
\fill-line {
  \fromproperty #'header:poet
  { \large \bold \fromproperty #'header:instrument }
  \fromproperty #'header:composer
}
  }
}
  }
}

% 

On 12/21/24 16:08, Stephen Fry wrote:
I've been using the default header settings with the text values set as 
shown in the snippet and the pdf output shown below.  However, I would 
like the meter (10.9.10.9.D) to be centered at the top of the page and 
next to the tune name (whose variable I will likely have to create 
manually).  I tried using the example in Documentation 3.3.2 > Custom 
layout for titles to change the alignment, but this doesn't seem to work 
the same way for "meter" as it does for "title" or "piece" ???


YES, the lyrics, tune, and harmony *are all in the public domain*.

Could somebody show a way to edit the alignment of the "meter" 
variable?  Note:  While the documentation came from the manual for the 
unstable release, I've been using V 2.18.2.  I've run out of space on my 
local disk, so I cannot upgrade LilyPond without doing a lot of memory 
management.  I would like to get this fixed as soon as possible to send 
to the printer.


Snippet:
image.png
Output currently:
image.png

Thank you,
Stephen F.


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Re: Engraving a close harmony

[William Rehwinkel via LilyPond user discussion]

As an organist, I approve.

-William

On 12/8/24 17:07, Knute Snortum wrote:
On Sun, Dec 8, 2024 at 6:37 AM Robin Bannister > wrote:


Saul Tobin wrote:
 > I could be hallucinating but I think I remember seeing someone
post an
 > attempt at an engraver that handles chromatically altered
unisons. Might be
 > worth searching back.

Or Harm's distributed noteheads?

https://lists.gnu.org/archive/html/lilypond-user/2021-04/msg00213.html 



Thanks, Robin.  I've attached a snippet using the distributed noteheads 
solution.  Pianists, what do you think?


--
Knute Snortum


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Re: Engraving a close harmony

[William Rehwinkel via LilyPond user discussion]

Dear Knute,

Here is the best that I could do...but I'm not sure that this is the 
most correct solution or that it will look good in context...


Thanks,
-William

% --
\version "2.25.18"
\language "english"

\paper {
  ragged-right = ##t
  indent = 0
}

righthandUpper = \relative {
  \time 6/8
  r16 ( q  q  \voiceOne e f f \once \override 
Accidental.X-extent = #'(0 . 0)  ds! \once \override Accidental.X-extent 
= #'(0 . 0) ds! e16) |

}

rightHandLower = \relative {
  \time 6/8
  \voiceFour s4. d''16 gs, gs \once \override Accidental.X-extent = 
#'(0 . 0) \once \override NoteColumn.force-hshift = #2  \once \override 
Accidental.extra-offset = #'(2.9 . 0) d'! \once \override 
Accidental.X-extent = #'(0 . 0)\once \override NoteColumn.force-hshift = 
#2  \once \override Accidental.extra-offset = #'(2.9 . 0) d! \once 
\override NoteHead.extra-spacing-width = #'(-2 . 0) gs, |

}

\new Staff <<
  \new Voice \righthandUpper
  \new Voice \rightHandLower
>>
% --

On 12/7/24 19:09, Knute Snortum wrote:
I have a Chopin piece that I'm engraving and I've run into a problem 
with some of the close harmonies he writes.  He has a chord with both a 
d-sharp and a d-natural in it.  The edition I'm using uses two voices 
and doesn't merge the two d's (see attached picture).  I've tried this 
in LilyPond but I can't prevent the merging of the two notes (see second 
attached picture, measure one.)  Is there a way to stop LilyPond from 
merging two notes?


I've asked this question before and one of the suggestions was to use an 
enharmonic note, in this case e-flat for the d-sharp (see attached, 
measures two through four). To the pianists reading this: which measure 
is the least confusing?  I've also attached the code I used to create 
the four measures.


--
Knute Snortum



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Re: Barline through all staves

[William Rehwinkel via LilyPond user discussion]

Dear Thomas,

Let me know if the attached file achieves what you were hoping for.

Thanks,
-William

% 
\version "2.25.21"

scoreAViolinIPart = {c'4 c' c' c' c' c' c' c' c' c' c' c' c'1 }

scoreAViolinIIPart = {
  % for every staff which is the BOTTOM of a group (example: piano left 
hand)

  % OR where you don't want a connecting line below,
  % include this override
  \override Staff.BarLine.allow-span-bar = ##f c'4 c' c'  c' |
  % before the FIRST NOTE of the NEXT measure
  \once \override Staff.BarLine.allow-span-bar = ##t
  c' c' c' c' | c' c' c' c' | c'1 \override 
Staff.BarLine.allow-span-bar = ##t \bar "|."

}

scoreASopranoVoicePart = { \override Staff.BarLine.allow-span-bar = ##f 
c'4 c' c'  c' |

\once \override Staff.BarLine.allow-span-bar = ##t
c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t
}
scoreAAltoVoicePart = { \override Staff.BarLine.allow-span-bar = ##f c'4 
c' c'  c' |

\once \override Staff.BarLine.allow-span-bar = ##t
c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t
}
scoreATenorVoicePart = { \override Staff.BarLine.allow-span-bar = ##f 
c'4 c' c'  c' |

\once \override Staff.BarLine.allow-span-bar = ##t
c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t
}
scoreABassVoicePart = { \override Staff.BarLine.allow-span-bar = ##f c'4 
c' c'  c' |

\once \override Staff.BarLine.allow-span-bar = ##t
c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t
}

scoreABassoContinuoPart = {c'4 c' c' c' | c' c' c' c' | c' c' c' c' | c'1 }

\score {
  <<
\new StaffGroup
<<
  \new Staff \scoreAViolinIPart
  \new Staff \scoreAViolinIIPart
>>
\new ChoirStaff
<<
  \new Staff \scoreASopranoVoicePart
  \new Staff \scoreAAltoVoicePart
  \new Staff \scoreATenorVoicePart
  \new Staff \scoreABassVoicePart
>>
\new Staff \scoreABassoContinuoPart
  >>
  \layout {
\context {
  \Score
  \consists Span_bar_engraver
}
  }
}
% 

On 12/3/24 08:22, Thomas Scharkowski wrote:

Hi,

I have this Score:

   <<
 \new StaffGroup
 <<
   \scoreAViolinIPart
   \scoreAViolinIIPart
 >>
 \new ChoirStaff
 <<
   \scoreASopranoVoicePart
   \scoreAAltoVoicePart
   \scoreATenorVoicePart
   \scoreABassVoicePart
 >>
 \scoreABassoContinuoPart
   >>
I would like barlines through all staves at some places, but cannot find a 
solution by myself.
Help appreciated!

Thanks,
Thomas


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\version "2.25.21"

scoreAViolinIPart = {c'4 c' c' c' c' c' c' c' c' c' c' c' c'1 }

scoreAViolinIIPart = { 
  % for every staff which is the BOTTOM of a group (example: piano left hand)
  % OR where you don't want a connecting line below,
  % include this override
  \override Staff.BarLine.allow-span-bar = ##f c'4 c' c'  c' | 
  % before the FIRST NOTE of the NEXT measure
  \once \override Staff.BarLine.allow-span-bar = ##t 
  c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t 
\bar "|." 
}

scoreASopranoVoicePart = { \override Staff.BarLine.allow-span-bar = ##f c'4 c' 
c'  c' | 
\once \override Staff.BarLine.allow-span-bar = ##t 
c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t
}
scoreAAltoVoicePart = { \override Staff.BarLine.allow-span-bar = ##f c'4 c' c'  
c' | 
\once \override Staff.BarLine.allow-span-bar = ##t 
c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t
}
scoreATenorVoicePart = { \override Staff.BarLine.allow-span-bar = ##f c'4 c' c' 
 c' | 
\once \override Staff.BarLine.allow-span-bar = ##t 
c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t
}
scoreABassVoicePart = { \override Staff.BarLine.allow-span-bar = ##f c'4 c' c'  
c' | 
\once \override Staff.BarLine.allow-span-bar = ##t 
c' c' c' c' | c' c' c' c' | c'1 \override Staff.BarLine.allow-span-bar = ##t
}

scoreABassoContinuoPart = {c'4 c' c' c' | c' c' c' c' | c' c' c' c' | c'1 }

\score {
  <<
\new StaffGroup
<<
  \new Staff \scoreAViolinIPart
  \new Staff \scoreAViolinIIPart
>>
\new ChoirStaff
<<
  \new Staff \scoreASopranoVoicePart
  \new Staff \scoreAAltoVoicePart
  \new Staff \scoreATenorVoicePart
  \new Staff \scoreABassVoicePart
>>
\new Staff \scoreABassoContinuoPart
  >>
  \layout {
\context {
  \Score
  \consists Span_bar_engraver
}
  }
}


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Re: [OT] LilyPond in the wild

[William Rehwinkel via LilyPond user discussion]

Good find. I'm always very proud when I find scores engraved using 
lilypond showing up on websites like IMSLP. Especially in my realm of 
baroque organ and chamber music, there are a few people I know of who 
upload a lot of works using lilypond (for example, every time I find an 
interesting anonymous piece in a manuscript I go to imslp, and to my 
surprise it already got handled by "Edition MusanKo"). In my opinion, 
the scores are much more pretty than scores made using other software, 
even when they seem to be made using completely vanilla lilypond 
engraving settings.


-William

On 12/1/24 16:33, bobr...@centrum.is wrote:
A week ago I was playing a weekend gig in Akureyri, in the north of 
Iceland.  The final piece on the program was Ravel's "Bolero."  It was, 
to me, an unfamiliar edition.  Photo attached.


Best,

David


--
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Juilliard School '26 - Oberlin Conservatory '24
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Re: Problems regarding the use of OOP in Lilypond Scheme

[William Rehwinkel via LilyPond user discussion]

Dear tran,

I think this question would be better suited for guile support channels 
(like the GNU guile mailing list or #guile on libera IRC network) as 
opposed to lilypond support, as your code examples don't include any 
special lilypond procedures in them. I don't want to speak too much on 
this, because I have never used "oop goops" guile objects with lilypond 
code. However, on this page which talks about goops objects


https://www.gnu.org/software/g-golf/manual/html_node/GOOPS-Notes-and-Conventions.html

I found a paragraph which states "Except for virtual slots, there is 
currently no way to effectively prohibit (block) a user to mutate a 
goops class instance."


So perhaps you can figure out how to define a slot-ref procedure that 
works normally and a slot-set procedure which does nothing.


Thanks,
-William

P.S. I don't really understand why immutability is a really big deal for 
this. Do you not trust yourself to not add (slot-set!) procedures in the 
code? All of Lilypond's procedures and variables that we use and are 
used internally are mutable (a feature that has benefited me more than a 
few times when modifying lilypond input using scheme).


On 11/27/24 19:10, tran li wrote:
Recently I found that it is possible to use OOP in LilyPond Scheme by 
using the `oop goops` module so I would like to reconstruct some of my 
code in my `lily-score` project. However I encountered a problem with 
the following example: I would like to design a class system for some 
parametric curves, so I have a class `` with one slot 
named `fn` to provide parameterize function for the curve.


After that I defined a sub-class `` representing Bezier curves, 
I want the Bezier curve cunstructor to receive a set of control points 
(stored in slot `cpts`) and generate the parameterize function 
automatically. i.e. the `fn` slot should be automatically filled.


I want all these classes to be immutable so they remain stable during 
the program. There are some ways I came up with but they failed to meet 
my standard for immutable classes. The first way is to set `#:allocation 
#:virtual` for the slot `fn`, but virtual slots must be tied to a 
`#:slot-get` and `#:slot-set!` property, and `#:slot-set` means the 
value will be changed, which fails the "immutable" requirement. The 
second way is to use `define-method` and define a `curve-fn` method for 
the `` class. But this will force the class to generate a new 
function object every time the parameterize function is requested from 
the `` object, which is inefficient.


I don't know whether there is a way to satisfy all my needs described 
above. Currently I have all the functions required to create the bezier 
curve. Another small problem is how to make the control point lists and 
their internal points immutable once after they are created.


The OOP related code is as follows:

```ly
#(use-modules (oop goops))

#(define-class  ()
   (fn #:init-keyword #:fn #:getter curve-fn))
#(define-class  ()
   (cpts #:init-keyword #:cpts #:getter bezier-cpts))

#(define-method (curve-point-at (curve ) (t ))
   ((curve-fn curve) t))

#(define-method (bezier-degree (curve ))
   (- (length (bezier-cpts curve)) 1))

```

And the Bezier-related code:

```ly
#(define (binom n k)
   ;; binomial coefficient $\binom{n}{k} = \frac{n!}{k!(n - k)!}$
   (if (> k (/ n 2)) (set! k (- n k)))
   (let*
     ((result 1))
     (for-each
   (lambda (i)
     (let* ((p (- n i))
    (q (- k i)))
   (set! result (* result (/ p q)
   (iota k))
     result))

#(define ((bernstein-poly n k) t)
   (* (binom n k) (expt (- 1 t) (- n k)) (expt t k)))

#(define ((bezier cpts) t)
   ;; parameterization for bezier curves
   (let* ((x 0) (y 0)
  (n (- (length cpts) 1))(k 0))
     (for-each (lambda (cpt)
     (let* ((x_k (car cpt))
    (y_k (cdr cpt))
    (coef ((bernstein-poly n k) t)))
   (set! x (+ x (* x_k coef)))
   (set! y (+ y (* y_k coef
     (set! k (+ k 1)))
   cpts)
     (cons x y)))
```



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Re: DeLusse and Capriccio, Capriccio Light fonts

[William Rehwinkel via LilyPond user discussion]

After looking around the old archives on internet archive, I could not 
find the delusse or capriccio fonts on any archive of 
fonts.openlilylib.org or the later website www.musictypefoundry.com 
(before that website also went under). (fonts.openlilylib.org was the 
page that the elbsound page was linking to before they removed their 
links to other websites)


-William

On 11/5/24 15:12, l t wrote:
Appreciate that. Anyone know how to reach him? His sites seem to have 
been dormant for a few years.


On Tue, Nov 5, 2024 at 11:57 AM Xavier Scheuer > wrote:


On Tue, 5 Nov 2024 at 19:43, l t mailto:jerometalking...@gmail.com>> wrote:
 >
 > Does anyone know where to find the DeLusse, Capriccio and
Capriccio Light fonts, which are categorized at elbsound as
"Alternative Lilypond Font" ?
 > It isn't among the others at https://github.com/OpenLilyPondFonts


Hello,

Apparently they were made by Abraham Lee (in cc).
https://leighverlag.blogspot.com/2015/07/quick-summer-2015-update.html 

Not sure if they were released and under which license.

Kind regards,
Xavier



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Re: Odd behaviour when score begins with grace notes

[William Rehwinkel via LilyPond user discussion]

Dear Teoh,

I don't actually know, but try this workaround:

-William

% ---
\version "2.25.20"
\score {
\new GrandStaff <<
\new Staff {
\clef treble
\time 4/4
\key aes \major

\relative c' {
| \grace {ges'='16 g} aes='4  aes aes aes |

%% Replacing the above line with the one
%% below makes the problem go away, but
%% sans grace notes:
%| aes'='4  aes aes aes |
}
}
\new Staff {
\clef bass
\time 4/4
\key aes \major

\relative c {
  \grace {s8 } % <-- equal to length of grace
| c=1 |
}
}
>>
\layout {}
}
% ---

On 10/22/24 13:10, H. S. Teoh via LilyPond user discussion wrote:

Hi all,

I'm noticing some odd behaviour with the latest version of Lilypond (git
master, nominally 2.25.21). I have a piano score (GrandStaff with two
Staff's underneath), and when one staff contains grace notes right at
the beginning, it throws off alignment of the key/time signatures and
clefs with the bottom staff, and inserts extraneous key/time signatures.

If the grace notes are removed, everything goes back to normal. (See
commented-out line below.)

Here's the simplified Lilypond input that reproduces this problem:

--
\version "2.25.21"
\score {
\new GrandStaff <<
\new Staff {
\clef treble
\time 4/4
\key aes \major

\relative c' {
| \grace {ges'='16 g} aes='4  aes aes aes |

%% Replacing the above line with the one
%% below makes the problem go away, but
%% sans grace notes:
%| aes'='4  aes aes aes |
}
}
\new Staff {
\clef bass
\time 4/4
\key aes \major

\relative c {
| c=1 |
}
}
>>
\layout {}
}
--

What am I doing wrong?  And what's the right way to typeset grace notes
that begin the music?


--T



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Re: different measures

[William Rehwinkel via LilyPond user discussion]

Yes, try

\set Timing.measureLength = #(ly:make-moment 2/1)

See 
https://lilypond.org/doc/v2.24/Documentation/notation/special-rhythmic-concerns 
and ctrl-f "measurelength"


Thanks,
-William

On 10/22/24 11:21, Alexander Weidner wrote:

Hello,

is there any chance to reproduce this kind of different bar lengths?

\time 4/2 — does not fit with the measure in T4.

Thanks a lot! Alexander





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Re: 2.25.20 aligning text at end of multi-measure rest

[William Rehwinkel via LilyPond user discussion]

Oh, right. How's this, then?

\version "2.25.20"

{
  \compressMMRests R1*10
  \once \tweak direction #DOWN % optional
\textEndMark \markup\sans\right-align { "poco accel." }
  \mark \default
  R1
}

-William

On 9/29/24 16:57, Paul Scott wrote:

Thank you for your reply.

I want the text at the end of the 10 bar rest.

Strangely the MM rests are not compressed in your code.

Paul


On 9/29/24 1:31 PM, William Rehwinkel wrote:

Dear Paul,

Is this by any chance the output you were expecting?

-William

\version "2.25.20"
{
  \compressMMRests
  <>^\markup\sans\right-align{ "poco accel." }
  R1*10
  \mark \default
  R1
}

On 9/29/24 15:44, Paul Scott wrote:
My MWE seems consistent with NR 1.8.2 Text alignment but how can I 
get text actually right aligned in a section of music?


\version "2.25.20"
{
   \compressMMRests
   R1*10^\markup\sans\right-align{ "poco accel." }
   \mark \default
   R1
}

TIA,

Paul







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Re: 2.25.20 aligning text at end of multi-measure rest

[William Rehwinkel via LilyPond user discussion]

Dear Paul,

Is this by any chance the output you were expecting?

-William

\version "2.25.20"
{
  \compressMMRests
  <>^\markup\sans\right-align{ "poco accel." }
  R1*10
  \mark \default
  R1
}

On 9/29/24 15:44, Paul Scott wrote:
My MWE seems consistent with NR 1.8.2 Text alignment but how can I get 
text actually right aligned in a section of music?


\version "2.25.20"
{
   \compressMMRests
   R1*10^\markup\sans\right-align{ "poco accel." }
   \mark \default
   R1
}

TIA,

Paul





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Juilliard School '26 - Oberlin Conservatory '24
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Re: How do you insert measures into scores with many parts?

[William Rehwinkel via LilyPond user discussion]

Dear David,

I don't know of any command or script that adds an extra bar before 
measure 45 or something like that, so it's something that you will have 
to do manually.


I think the things that will help the most for this are dutifully 
placing bar checks in your file (to help when you're scanning through 
your file looking for the right place to insert music) and splitting up 
each instrument into sections, like in this example:


% ---
\version "2.25.19"

first = \relative c' {
  c4 d e f |
}

second = \relative g' {
  g4 a b c |
}

third = \relative c'' {
  c4 b a g |
}

fourth = \relative g' {
  f4 e d c |
}

instrument = {
  \first
  \second
  \third
  \fourth
}

\score {
  \new Staff \instrument
}
% ---

I don't usually put each measure on a new line, but even then I seem to 
have minimal difficulty with quickly finding a specific measure, as long 
as the music is not too repetitive.


I've had to insert music in the middle of a file before, and when that 
happens I usually first pinpoint the exact place by adding `^"here"` to 
some note (to make sure the text appears on the right note). Then I just 
add the music and use a lot of trial and error to make sure it appears 
right (the bar-checks help me figure out if I made a mistake).


Thanks,
-William

On 9/27/24 14:52, David Bellows wrote:

This is a question that came up on Reddit the other day and I didn't
have an answer (it never happens to me).

Say you are working on a score with multiple parts (like an orchestra)
and you need to insert some measures into all the parts somewhere in
the middle of the piece. Is there a way to organize things to minimize
the hassle? Having to go to each file for each part and insert the
measures would be a huge pain especially when compared to how
relatively easy this is for other notation programs (so I'm told). And
if you have to do this more than once then it's especially cumbersome.

I know with some editors you can search and replace multiple files at
once but this feels like it would mess up any internal organization
with respect to bar numbers in the LilyPond file (in the comments).

I understand that many people only use LilyPond for engraving so this
isn't a problem for them, but there are those of us who compose
directly in LilyPond and this could be a potential issue.

I guess I'm wondering if there is a way of writing your LilyPond files
in such a way to make this easier than just manually going through
each part and changing them.



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Re: unexpected 2nd staff

[William Rehwinkel via LilyPond user discussion]

Dear Paul,

You can add "\\" in-between the two parts in << >>. Like so:

<< { e8( f~2.) } \\ { e8( f d2.) } >>

-William


On 9/22/24 16:13, Paul Scott wrote:

How can I make this happen in one staff with all the stems down?

\version "2.25.19"

\fixed c'' { << { e8( f~2.) } { e8( f d2.) } >> }

TIA,

Paul





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Re: where are the file created?

[William Rehwinkel via LilyPond user discussion]

You can try looking in 
C:/Users/Owner/AppData/Local/Temp/frescobaldi-00ou83l6/tmp2xammvvc/ , 
but it appears that you're using Frescobaldi and that program may or may 
not delete this temporary directory once the output files are generated.


Thanks,
-William

On 9/20/24 07:39, ming tsang wrote:

Hi lilyponders,
  the following code generates two files according to the log.
%%%
\paper {
   output-filename = "my_special_output"
}

\book {
   \paper {
     output-suffix = "menuetto"
   }
   \score {    \relative { c''4 d e f }  }
}
\book {
   \paper {
     output-suffix = "scherzo"
   }
   \score {    \relative { f''4 e d c }  }
}
%%%

and the log as below:
%%
%{
Starting lilypond.exe 2.25.18 [Untitled]...
Processing 
`C:/Users/Owner/AppData/Local/Temp/frescobaldi-00ou83l6/tmp2xammvvc/document.ly '

Parsing...
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Converting to `my_special_output-menuetto.pdf'...
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Converting to `my_special_output-scherzo.pdf'...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Converting to `my_special_output.pdf'...
Success: compilation successfully completed
Completed successfully in 0.6".
%}

--
ming (lyndon) tsang


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Re: Bad bar check warning with two voices, appoggiatura, and articulate

[William Rehwinkel via LilyPond user discussion]

Dear Stu,

I don't think that is the problem here, because in original OP snippet, 
if you comment out the line `\new Voice { \voiceFour e,2 }`, there is no 
barcheck fail, and if you try the following example you can hear how the 
upper notes become out of sync with the lower notes in the midi.


Thanks,
-William

% -
\version "2.25.19"

rightHand = \relative {
  \time 3/4
  <<
{ \voiceOne e'4. d'8 }
\new Voice { \voiceFour e,2 }
  >>
  \oneVoice \appoggiatura { c'16 d e } d8 c | c8
}

\include "articulate.ly"

\score {
  \articulate <<
\new Staff \rightHand
\new Staff { c8 e c e c e | c' }
  >>
  \midi {}
}
% -

On 9/16/24 19:46, Stu McKenzie via LilyPond User List wrote:



On 2024-09-16 14:27, Knute Snortum wrote:


On Mon, Sep 16, 2024 at 2:14 PM Knute Snortum  wrote:


On Mon, Sep 16, 2024 at 12:15 PM David Kastrup  wrote:


In my book, an appoggiatura is executed at least with the written
duration, and here you take 3/16 of time from 1/8. How is that
supposed
to work?  You probably want \acciaccatura or \grace instead.


I think you're right that I need an acciaccatura.  Thank you for
looking into it.


Hmm...  the code still issues a bar check warning with an acciaccatura 
or grace.  It also doesn't help if I tinker with the durations:


%%%
\oneVoice \grace { c'16*1/8 d e } d8 c |
%%%


I think I understand what's happening.
I tried it with 2.24.0.

Your example has only 2 eighth notes, because the \grace and 
\acciaccatura don't use up any time.

So, there are still 3 beats to use up in the bar.

This works for 3/4 time except for the last bar using 2.24.0:

\score {
\relative {
\time 3/4

% 16*1/8 results in 1 sixteenth
\oneVoice \grace { c'16*1/8 d e } d2 c4 |

% The same bar using c'16 (changed to c16)
\oneVoice \grace { c16 d e } d2 c4 |

% \acciaccatura doesn't use up any time, but the 2 following notes do.
\acciaccatura { c16 d e } d2 c4 |

% Your original bar in 3/4 time (bar check with 2.24.0 as well!)
% \grace doesn't use up any time before the 2 eighth notes, so if the 
time is 3/4, you have only 1 beat in the bar (2 eighth notes).

\oneVoice \grace { c'16*1/8 d e } d8 c |

}
}

HTH




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Re: Question re: scheme, \transpose function

[William Rehwinkel via LilyPond user discussion]

Dear Yoshi,

Actually, I think the procedure is working correctly, but using the 
\transpose function within a \relative is causing some weird output. For 
example, the file


% 
\version "2.25.18"
\relative c' {
  c16 
  c16 
}
% 

does not result in the output that I was expecting. Maybe someone else 
can say why this is, but I'll investigate more later.


-William


On 9/13/24 10:48, Yoshiaki Onishi wrote:

Dear LilyPond Community,

In the interest of learning more about Scheme as used in LilyPond (and 
learning LilyPond in general!), I am currently in the process of making 
a shortcut function that handles the artificial harmonic notation of 
string instruments instead of typing ""However, 
something must be wrong with the way I am handling \transpose in the 
scheme code, and there are some instances of the artificial harmonics 
that don't render correctly. Code (as tiny as I could manage!) and 
screenshot attached. I'd be grateful in advance if anyone could 
enlighten me on this.


(Context: I am/was a Finale user with some coding background who 
rediscovered the LilyPond's goodness and this is week 3 of learning it 
together with students at the university I work. Part of me wished there 
was a way to specify the interval of transposition by some kind of 
interval name followed by a direction, rather than "frompitch 
topitch"...but I know this has some intricacies with absolute vs 
relative pitch notation...)


Thanks in advance!
Yoshi

=

\version "2.24.4"
% I tried to use (make-relative) macro to see if it helped with 
anything, but to no avail.

hf = #(define-music-function (note1) (ly:music?)
         #{ < #note1 \transpose c f $note1 \harmonic > #}
         )
{
   \time 3/4
   \relative c'
   {c'16 \hf b \hf bes \hf a \hf as \hf g \hf fis \hf f \hf e \hf es \hf 
d \hf des | \hf c \hf b }

}

image.png




--
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Re: sectionLabel formatting

[William Rehwinkel via LilyPond user discussion]

Yes, just replace \textMark with \sectionLabel and it will work.

-William

On 9/8/24 19:59, Stu McKenzie wrote:


The Notation Reference document for version 2.25.19 has a simple example 
on page 292:


\fixed c' {
\sectionLabel "Verse"
c2 g
\section
\sectionLabel "Chorus"
g2 c
\bar "|."
}

The Notation Reference states on the same page:
"Before using text marks, it is recommended to seek a more specific 
command, if available.
For text that identifies a section, use \sectionLabel (see [Section 
labels], page 292)."


All sectionLabel examples in the Reference have no formatting.

I'd like to format the sectionLabel.

I know that I can format a \textMark with e.g.:
\textMark \markup { \box \bold "Chorus" }

Is there a way to format sectionLabel, or is textMark (or something 
else) required instead?





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Re: Elongating Measures

[William Rehwinkel via LilyPond user discussion]

Dear Greg,

This looks like a good solution, but personally, when I have to tweak 
things like minimum length in Lilypond, I like to make it apply all the 
time, which you can do with context like this:


\layout {
\context {
\Score
\override Hairpin.minimum-length = 10
}
}

-William

On 9/7/24 11:12, Greg Lindstrom wrote:

Kieren (and friends) -

Thank-you. This works great. And since I want to use it in a number of 
locations I made a couple of functions:


% Length Crescendo - Specify a minimum length for the crescendo
lCresc = #(define-music-function(parser location minLen) (integer?)
             #{
               -\tweak minimum-length #'numLen -\<
             #})


% Length Decrescendo - Specify a minimum length for the decrescendo
lDcresc = #(define-music-function(parser location minLen) (integer?)
             #{
               -\tweak minimum-length #'numLen -\>
             #})


Which cleans things up a bit:

   \time 3/2 af bf(c)\!|
   \time 2/2 df1\f \lDcresc 7 \breathe|
   c2\mf af|


Thanks for the help!

--greg


On Fri, Sep 6, 2024 at 7:55 PM Kieren MacMillan 
mailto:kie...@kierenmacmillan.info>> wrote:


Hi Greg,

 > I would like it to be longer so the decrescendo is a bit more
prominent.
 > [snip]
 > Is there a way I can specify the length of the measure or
otherwise make it longer?

Here’s one option:

%%%  SNIPPET BEGINS
\version "2.25.11"

{
   df2\mf df\<  |
   \time 3/2 df df( f)\!  |
   \time 2/2 f1\f -\tweak minimum-length 12 -\> \breathe  |
   f2\mf c  |
   c ef\<  |
}
%%%  SNIPPET ENDS

Hope that helps!
Kieren.
__

My work day may look different than your work day. Please do not
feel obligated to read or respond to this email outside of your
normal working hours.



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Re: Change stem direction for voice?

[William Rehwinkel via LilyPond user discussion]

Dear Stefano,

Replying back to you and re-adding the list to this.

I see. Quick note about your example: in your attached file on line 98 
if you replace


\layout {
\context {
  \Voice
  \override Beam.positions = #'(5 . 5)
}

with

\layout {
\context {
  \Score
  \stemUp
  \override Beam.positions = #'(5 . 5)
}

I think the stems and beams will work as you were hoping.

As for a template to write drum rhythms in multiple ways, I don't know 
if that has been done yet. You would have to ask someone else who has 
more experience writing drum parts. Maybe someone has written a .ily 
file which has functions to handle that kind of thing, or you could 
write it someday. But it would be very difficult, because you have to 
combine voices with different rhythms on the same stem. But anything is 
possible with lilypond when we are able to use scheme, it's just a 
question of how difficult it is.


As an aside, I think that it is not a good idea to write the notes in 
different voices and have the beams collide. One reason is that if you 
change the rhythm of one voice, such as making the snare be dotted 
eighth, sixteenth, the notation will be incorrect (see attached image).


Thanks,
-William

On 8/25/24 18:02, Stefano Antonelli wrote:

On Sun, 2024-08-25 at 16:45 -0400, William Rehwinkel wrote:

Dear Stefano,

Hi William,


See the attached example which may fix what you have in mind. In it
the default lilypond procedure "make-voice-props-set" (which is
called when you use << // >> as well as \voiceOne \voiceTwo etc.) is
overwritten so that Stems are always up.


I was thinking of doing exactly that and didn't know how.  Thank you
for doing that.


Thanks, let me know if this is what you were intending


While it worked in your example, when I eventually tried it with my own
music, it didn't behave well.  See attached.

Oddly there were still down stems.  And the override I was using for
beam position no longer had any effect.  Even though the effect wasn't
what I wanted.  But thank you for trying.

Ideally, I could choose whether stems are up or down depending on the
convention.  There are three for drum notation:

1. all stems up
2. hands stems up, feet stems down
3. cymbals stems up, drums stems down

I'd like the same music input for all 3 conventions.

That's what I am intending.

I think the only sensible way to go about this is ugly.

up = \stemUp \slurDown \override Beam.positions = #'(5 . 5)
down = \stemDown \slurUp \override Beam.positions = #'(-5 . -5)

% change v1 to v4 to suit convention
vA = \up
vB = \up
vC = \down
vD = \down

beat = \drummode {
   << {\vA ...} \\ {\vB ...} \\ {\vC ...} \\ {\vD ...} >>
}

I have not tested it, but there doesn't seem to be an easier way around
it.

Maybe a scheme function could be used to do some text substitution, but
I wouldn't know where to start with that.




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Re: Change stem direction for voice?

[William Rehwinkel via LilyPond user discussion]

Dear Stefano,

See the attached example which may fix what you have in mind. In it the 
default lilypond procedure "make-voice-props-set" (which is called when 
you use << // >> as well as \voiceOne \voiceTwo etc.) is overwritten so 
that Stems are always up.


Thanks, let me know if this is what you were intending
-William

On 8/25/24 03:55, Stefano Antonelli wrote:

Hello List,

Is it possible to change the stem direction for an entire voice from a
context?  Something like this doesn't work:

\layout {
   \context Voice = "voiceTwo" {
 \override Stem.direction = #UP
 \override Slur.direction = #DOWN
 \override Beam #'positions = #'(5 . 5)
   }
}

The Beam position appears to work, but not the stem or slur directions.
  I read somewhere that:

\stemUp expands to \override Stem.direction = #UP

So that's why I'm using it.

I'm also experimenting with voiceTwo because it defaults to stems down.
  And I'd like voiceTwo to be stems up.

If it can't be done through contexts, is there any way to force stem
directions for a given voice without adding \stemUp or \stemDown to the
notes themselves?

Thanks,
Stef


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\version "2.25.19"

% from /scm/music-functions.scm "direction-polyphonic-grobs"
#(define direction-polyphonic-grobs-without-stem-dots
  '(AccidentalSuggestion
Fingering
LaissezVibrerTie
LigatureBracket
MultiMeasureRest
PhrasingSlur
RepeatTie
Rest
Script
Slur
TextScript
Tie
TupletBracket
TrillSpanner))

% from /scm/music-functions.scm
#(define general-grace-settings
  `((Voice Stem font-size -3)
(Voice Flag font-size -3)
(Voice NoteHead font-size -3)
(Voice TabNoteHead font-size -4)
(Voice Dots font-size -3)
(Voice Stem length-fraction 0.8)
(Voice Stem no-stem-extend #t)
(Voice Beam beam-thickness 0.384)
(Voice Beam length-fraction 0.8)
(Voice Accidental font-size -4)
(Voice AccidentalCautionary font-size -4)
(Voice Script font-size -3)
(Voice Fingering font-size -8)
(Voice StringNumber font-size -8)))

% from /scm/music-functions.scm "make-voice-props-set"
#(set! make-voice-props-set (lambda (n)
  (make-sequential-music
   (append
(map (lambda (x) (make-grob-property-set x 'direction 1))
 '(Stem Dots DotColumn))
(map (lambda (x) (make-grob-property-set x 'direction (if (odd? n) -1 1)))
 direction-polyphonic-grobs-without-stem-dots)
(list
 (make-property-set 'graceSettings general-grace-settings)
 (make-grob-property-set 'NoteColumn 'horizontal-shift n))

\relative c' {
  <<
  \relative g' { g4. g8 a4( g) | r4 d8 c~ c4 b4 }
  \\
  \relative e' { e8( d) c4 r4 b8~ b | c4( a) g2 }
  >>
}


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Re: Footnote

[William Rehwinkel via LilyPond user discussion]

Dear Werner,

Oh, because it's all in a `\markup` block...my bad. Probably because we 
can do


% ---
\version "2.25.18"
\relative c' {
  \footnote #'(1 . 1) \markup {hello} c4
  \footnote #'(1 . 1) "hello" c4
  %\footnote #'(1 . 1) {hello} c4 % error
  %\footnote #'(1 . 1) \wordwrap {hello} c4 % error
}
% ---

meanwhile, with `\auto-footnote` we can do

% ---
\version "2.25.18"

\markup { A \auto-footnote "B" \line {footnote text here } C }
\markup { A \auto-footnote "B" "footnote text here"  C }
% error:
%\markup { A \auto-footnote "B" \markup{footnote text here}  C }
% weird behavior:
\markup { A \auto-footnote "B" {footnote text here} C }
% ---

is why I got confused.

-William


On 8/21/24 23:09, Werner LEMBERG wrote:



Actually, the \auto-footnote function operates a little weirdly (at
least it didn't seem intuitive to me). The `text` and `footnote` in

`\auto-footnote text footnote`

are just the contents of the markup, so you write what you would
write inside the brackets of \markup{}.


It's not weird at all.  You simply can't use `\markup` within
`\markup`.  Similarly, you can't use `\lyricmode` within `\lyricmode`,
etc., etc.

If you look at the documentation you can see the following

   ‘\auto-footnote’ MKUP (markup) NOTE (markup)

which means that both arguments are markups.  I think we have an XY
problem here: It seems to me that the OP believes that the arguments
have to be strings enclosed in double quotes.  This is not correct.
In most cases you can omit the double quotes while being in a
`\markup` block.

On the other hand, there are subtle differences between saying

   \markup { foo bar }

and

   \markup { "foo bar" }

The former uses LilyPond's idea of a space between words as set up by
`\markup` (i.e., it uses the value given by the markup's `word-space`
property, which can be modified using `\override` within `\markup`).
The latter, however, uses the space character as defined in the used
font, which is usually a different value.

In case it is absolutely necessary to use the font's space character
combined with other text markup, you have to use `\concat` like in the
following example.

```
\markup \concat {
   "This is a "
   \with-color #red "red "
   "word in a sentence." }
```


 Werner


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Re: Footnote

[William Rehwinkel via LilyPond user discussion]

Dear Dimitri,

Actually, the \auto-footnote function operates a little weirdly (at 
least it didn't seem intuitive to me). The `text` and `footnote` in


`\auto-footnote text footnote`

are just the contents of the markup, so you write what you would write 
inside the brackets of \markup{}. Like below.


Thanks,
-William

P.S. Note the use of `\wordwrap`

% -
\version "2.25.18"

\markup {Giovanni Pierluigi da Palestrina was an Italian composer of 
late \auto-footnote "Renaissance" \wordwrap { \bold { Renaissance music 
} is traditionally understood to cover European music of the 15th and 
16th centuries. } music. }



On 8/21/24 15:56, Dimitri Sykias wrote:

How can I format text in \auto-footnote?

For example:

\markup {Giovanni Pierluigi da Palestrina was an Italian composer of late \auto-footnote 
"Renaissance" "Renaissance music is traditionally understood to cover European music 
of the 15th and 16th centuries." music. }

I want "Renaissance music" in the foot-note text to be bold and “th” in 15th 
superscript. Also the text of \auto-footnote is not wrapped.

I tried ChatGPT but it gives a wrong code (it doesn’t compile):

\version "2.24.0"

\markup {
   "Giovanni Pierluigi da Palestrina was an Italian composer of late"
   \footnote
   #"Renaissance"
   #{
 \markup {
   \column {
 \line { \bold "Renaissance music" }
 \line { "is traditionally understood to cover European music of the"
   \superscript { "15" } "th and 16th centuries." }
   }
 }
   }
   "music."
}

Thanks


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Re: Help with scheme

[William Rehwinkel via LilyPond user discussion]

Dear Michael,

When I change

#(define *clefs-option* (ly:get-option 'clefs))

to

#(define *clefs-option* 'gamba)

and

(#t (define *use-gamba-clefs* #t))

to

(#t (set! *use-gamba-clefs* #t)) ; note "set!"


lilypond 2.25.18 compiles the code without any errors. But I don't know 
if this will make this example actually work.


Also, the use of ly:get-option is odd to me, I didn't know that the user 
could define custom options (if I do `lilypond -dclefs=normal clefs.ly` 
it says "warning: no such program option: clefs").


Could you show us a minimum example including an excerpt of music that 
renders using different clefs?


Thanks,
-William

On 8/21/24 09:19, Michael Gerdau wrote:

Dear lilyponders,

I've donwloaded some older lilypond sources (version 2.18.2) from 
cpdl.org and am trying to make them work with 2.25.18.


Most things are straight forward however there is some scheme code that 
allows to switch between different clefs.


Could someone with better scheme fu than I have tell me how I should 
adjust the code for 2.25.18?


The error I get is:
Starte lilypond 2.25.18 [scheme-error.ly]...
Processing `/home/mgd/lilypond-Noten/scheme-error.ly'
Parsing...
/home/mgd/lilypond-Noten/scheme-error.ly:10:2: error: Guile signaled an 
error for the expression beginning here

#
  (cond
Syntax error:
/home/mgd/lilypond-Noten/scheme-error.ly:10:0: body should end with an 
expression in form (let () (define *use-gamba-clefs* #t))

fatal error: failed files: "/home/mgd/lilypond-Noten/scheme-error.ly"
Wurde mit dem Return-Code 1 beendet.


Trying to make sense of the errormsg I verbatim replaced
   (#t (define *use-gamba-clefs* #t))
with
   (let () (define *use-gamba-clefs* #t))
but that doesn't work either (the error is different though).



snip -- snip -- snip -- snip -- snip -- snip -- snip -- snip -- snip
\version "2.25.18"

#(define *clefs-option* (ly:get-option 'clefs))
% #(display "\nDEBUG: *clefs-options* = ") #(display (ly:get-option 
'clefs)) #(display "\n")


#(define *use-recorder-clefs* (eq? *clefs-option* 'recorder))
#(define *use-gamba-clefs*    (eq? *clefs-option* 'gamba))
#(define *use-original-clefs* (eq? *clefs-option* 'original))

#(cond
   (*use-recorder-clefs*  (display "\nUsing recorder clefs.\n"))
   (*use-gamba-clefs* (display "\nUsing gamba clefs.\n"))
   (*use-original-clefs*  (display "\nUsing original clefs.\n"))
   (#t (define *use-gamba-clefs* #t))
   )

insertClef = #(cond
    (*use-recorder-clefs*  #{ \clef treble #})
    (*use-gamba-clefs* #{ \clef alto #})
    (*use-original-clefs*  #{ \clef mezzosoprano #})
    )
snip -- snip -- snip -- snip -- snip -- snip -- snip -- snip -- snip

Kind regards,
Michael


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Re: Aligning a Table

[William Rehwinkel via LilyPond user discussion]

Dear Dimitri,

You could do this, but the table wouldn't go over multiple pages.

-William

\version "2.25.18"

\markuplist {
  \fill-line {
\null
\column {
  \override #'(padding . 2)
  \table
  #'(0 0)
  {
Itemitem
Itemitem
Itemitem
  }
}
\null
  }
}


On 8/19/24 07:22, Dimitri Sykias wrote:

How can I align the following table to the center of the page?

\markuplist {
   \override #'(padding . 2)
   \table
   #'(0 0)
   {
 Item   item
 Item   item
 Item   item
   }
}

Thanks!



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Re: \enablePolymeter halts bar numbers

[William Rehwinkel via LilyPond user discussion]

Lucas,

You can add the Bar_number_engraver to one of the staves, like so: (this 
will make the second example have two measure numbers)


% 
\version "2.25.18"
song = { \new TabStaff \with { \consists Bar_number_engraver}{ 
\tabFullNotation

\time 4/4 \relative c'' {
\repeat unfold 3 {c4 d e f c4 d e f \break}
} \break % end relative
} % end TabStaff
} % end variable
\score { \song \layout { \enablePolymeter } }
\score { \song \layout {} }
% 

This can get tricky, because if you have polymeters enabled and 
different staves with measures of different lengths in the same system, 
Lilypond wouldn't know which measures to count.


Thanks,
-William


On 8/13/24 13:11, Lucas Cavalcanti wrote:

\version "2.24.4"
song = { \new TabStaff { \tabFullNotation
     \time 4/4 \relative c'' {
     \repeat unfold 3 {c4 d e f c4 d e f \break}
     } \break % end relative
     } % end TabStaff
} % end variable
\score { \song \layout { \enablePolymeter } }
\score { \song \layout {} }


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Re: Dynamics in Lyrics?

[William Rehwinkel via LilyPond user discussion]

This is perfect, but I'll add something else to keep in mind: you can 
use "\markup \dynamic f" to add dynamics in markup.


Thanks,
-William

On 8/11/24 04:20, David Kastrup wrote:

Peter Chubb  writes:


Hi Folks,
Is there a simple way to add dynamic markings to lyrics?  In a
multi-verse song, the dynamics can be different verse to verse.

I'd like to do something like this:

\score {
   <<
 \new Staff \context Voice = tune {\repeat volta 2 { c c c c }}
 \new Lyrics \lyricsto tune  { \set stanza = "1." \mp get \cresc lou -- der 
\f here }
 \new Lyrics \lyricsto tune  { \set stanza = "2."  \ff this is very loud  }
 >>
}


First, dynamics are entered _behind_ the event they are supposed to
attach to, not before.  Second, if you want a context to engrave
dynamics, it needs the respective engravers.  Try






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\version "2.25.18"

\score {
  <<
\new Staff \context Voice = tune {\repeat volta 2 { c' c' c' c' }}
\new Lyrics \lyricsto tune  { \set stanza = "1. "
  \markup {{\dynamic mp} get}
  \markup{{\italic cresc}
  loud} -- er \markup{{\dynamic f} here}
}
\new Lyrics \lyricsto tune  { \set stanza = "2. "
  \markup {{\dynamic ff} this}
  is very loud
}
>>
}




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Re: Clarification on Commercial Use of Fonts Embedded in LilyPond-Generated PDFs

[William Rehwinkel via LilyPond user discussion]

Dear Peter,

C059 (the text font) is released under OFL, Emmentaler (the lilypond 
font) under SIL open license (which means OFL, I think), and Nimbus Sans 
is a default Linux font and is also free for commercial use (someone can 
correct me if I'm wrong about any of this).[1] So you're good.


Thanks,
-William

[1] sources: https://fontmeme.com/fonts/c059-font/ 
https://fontesk.com/century-schoolbook-typeface/ 
https://fontsinuse.com/typefaces/89095/emmentaler 
https://openfontlicense.org 
https://www.1001fonts.com/nimbus-sans-l-font.html#license


On 8/8/24 21:34, Peter X wrote:
**Title: Clarification on Commercial Use of Fonts Embedded in 
LilyPond-Generated PDFs**


Hello everyone,

A few hours ago, I posted a question mainly focusing on whether sheet 
music generated by LilyPond would be subject to any licensing 
restrictions that could affect its commercial use. I’ve since received 
some helpful responses clarifying that using LilyPond to create and sell 
PDF sheet music is permissible, and there are no commercial licensing 
restrictions related to the PDFs themselves.


However, I now have a new concern, specifically regarding the default 
fonts embedded in the PDFs generated by LilyPond. Below is the 
information about the fonts used in my PDF file:


```
name                                 type              encoding 
emb sub uni object ID
 -  
--- --- --- -
NMTBXS+C059-Bold                     Type 1C           WinAnsi 
  yes yes no       7  0
YBXQWU+C059-Roman                    Type 1C           WinAnsi 
  yes yes no       9  0
PJJWOR+Emmentaler-14                 Type 1C           Custom   
yes yes no      20  0
PEHHCL+Emmentaler-20                 Type 1C           Custom   
yes yes no      18  0
GVAMCX+NimbusSans-Bold               Type 1C           WinAnsi 
  yes yes no      16  0

```

### My Specific Questions:

1. **Are these fonts free for commercial use?**
    I plan to embed these fonts in a PDF sheet music file that I intend 
to sell on Amazon as an eBook. I want to confirm whether these fonts 
(specifically the C059 series, Emmentaler, and NimbusSans) have any 
commercial use restrictions. Should I consider replacing them with other 
fonts, or is it safe to use the default fonts?


2. **Assuming LilyPond does not affect the commercial licensing of the 
PDF**
    Based on previous discussions, it was clarified that LilyPond itself 
does not impact the commercial use or licensing of the generated PDFs. 
Therefore, my main concern now is focused on the fonts used within the PDF.


3. **Recommendations for Commercially Successful LilyPond and LaTeX 
eBooks**
    Additionally, if anyone can recommend commercially successful eBooks 
that were created using LilyPond and LaTeX, especially those sold on 
Amazon, I would greatly appreciate it!


Thank you very much for your help and advice!



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Re: Changes in notation font in 2.25

[William Rehwinkel via LilyPond user discussion]

Dear Jean,

In this example, I cloned the directory of the git repository, then 
included the /otf directory like this:


~/lilypond-2.25.17/bin/lilypond -I /path/to/cadence/otf/ -dcrop -o 
cad_new cad.ly


Does this look correct?

Thanks,
-William

On 7/13/24 06:18, Jean Abou Samra wrote:

Le vendredi 12 juillet 2024 à 19:06 -0400, William Rehwinkel a écrit :

The reason is, it appears that old notation fonts have become slightly
broken, especially glyphs relating to numbers (time signatures,
multi-measure rests, figured bass).



This is almost certainly a setup issue. Please expand on how you
installed the fonts.



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Re: Changes in notation font in 2.25

[William Rehwinkel via LilyPond user discussion]

I see, thanks for letting me know. I'll see if this is something I can 
contribute to in the future, but for now I don't have any experience in 
modifying old fonts or creating new ones.


Thanks,
-William

On 7/13/24 02:03, Werner LEMBERG wrote:



The reason is, it appears that old notation fonts have become
slightly broken, especially glyphs relating to numbers (time
signatures, multi-measure rests, figured bass). The attached files
are rendered in 2.25.2 and .16 using
https://github.com/OpenLilyPondFonts/cadence .


I've just tried to compile your code snippet with the 2.25.17
GNU/Linux binary from lilypond.org.  After copying the whole suite of
cadence fonts to the place where the `emmentaler-*.otf` fonts reside
(i.e., `.../share/lilypond/2.25.17/fonts/otf`), everything works as
expected; see attached file.

Note, however, that a lot of Emmentaler glyphs have been renamed since
the original release of the cadence fonts, and these glyphs will
certainly fail because LilyPond won't be able to find them.  In other
words, your simple example works by chance only.


I was wondering if anyone else is working with custom notation fonts
and knows if I can find more updated fonts anywhere,


I'm not aware of such efforts, unfortunately.


or if there are any workarounds to use old fonts (for example, using
`\override BassFigure.fonts.music = "emmentaler"`)?


There aren't such work-arounds, sorry.


 Werner



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Changes in notation font in 2.25

[William Rehwinkel via LilyPond user discussion]

Dear list,

I was wondering if anyone could help me with the changes to the notation 
font in 2.25.x?


I was looking for a list of changes to the emmentaler font but could not 
find it in 
https://lilypond.org/doc/v2.25/Documentation/changes/index.html . The 
reason is, it appears that old notation fonts have become slightly 
broken, especially glyphs relating to numbers (time signatures, 
multi-measure rests, figured bass). The attached files are rendered in 
2.25.2 and .16 using https://github.com/OpenLilyPondFonts/cadence .


I was wondering if anyone else is working with custom notation fonts and 
knows if I can find more updated fonts anywhere, or if there are any 
workarounds to use old fonts (for example, using `\override 
BassFigure.fonts.music = "emmentaler"`)?


Thanks,
-William

% --
\version "2.25.16"

\paper {
  property-defaults.fonts.music = "cadence"
}

\compressMMRests \relative c' {
  \time 3/4
  c4 d e R2.*3
}
% --

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Slurs across staves, reach both notes

[William Rehwinkel via LilyPond user discussion]

Dear list,

In the following example, is there a way to make the slurs reach across 
all the staves to reach both notes?


I'm very sorry, I could have sworn that I could make slurs across staves 
work correctly in the past, but I must have forgotten.


Thanks,
-William

% --
\version "2.25.16"

\score { <<
  \new Staff = "a" << { c''4^( \change Staff = "c" c'') \change Staff = 
"a" c''4_( \change Staff = "c" c'')  } \new Voice s1 >>

  \new Staff = "b" s1
  \new Staff = "c" s1
>> }
% --

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Re: move fingering

[William Rehwinkel via LilyPond user discussion]

Dear Mark,

You can do

\set fingeringOrientations = #'(left)

and change "g16.^1" to "16.".

See here: 
https://lilypond.org/doc/v2.25/Documentation/notation/fingering-instructions


Thanks,
-William

On 7/9/24 19:25, Mark Stephen Mrotek wrote:

Hello:

The following:

g4.

   \once \override TextScript.script-priority = #-100

   g16.^1^\turn^\markup { \small \sharp }\<

   ([a32^3\!] c16^5\> bes g^2 e\!) |


puts the fingering (1) above the turn.

How do I relocate it next to the “g”?

Thank you.

Mark



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Re: music glyph in text

[William Rehwinkel via LilyPond user discussion]

Dear David,

Personally, I prefer to use the Unicode symbols U+266D (♭) and U+266F 
(♯) (as well as U+266E ♮) when writing flats and sharps because they are 
more likely to be stylized according to the text font you are using. 
When I'm writing a text document or a bit of text in a lilypond score I 
do this.


Thanks,
-William

On 7/8/24 15:30, bobr...@centrum.is wrote:
I have been looking for a way to use music glyphs in inline text, 
specifically in a lilypond-book document.  I want to write "the note 
should be Bb and not C#" but I want to use  a flat and a sharp and not a 
lower case 'b' and an octothorpe (#).


TIA,

David


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Re: Changing from percussion clef to treble clef

[William Rehwinkel via LilyPond user discussion]

Dear Richard,

If I do something like the following, using a regular Staff instead of 
RhythmicStaff and using "percussion" staff (it acts like alto clef), I 
can write different notes. Is this something like what you were hoping 
to do? Sorry, I don't know the entire context of the problem you were 
having. If this isn't correct, could you send us a minimum code example 
which shows the problem?


Thanks,
-William

% --
\version "2.25.16"

\new Staff \with {\clef percussion } \compressMMRests \relative c' {
  R1 | \time 3/4 R2.*2 | \time 4/4 R1 | r2 r8 g8 r4 | R1*3 | \time 2/4 
R2*3
  \clef G \relative c'' { a16->\f ^\markup "Glockenspiel" g-> f8-> d-> 
} % relative c'' instead of c?

}
% --


On 7/8/24 14:03, Richard Cookson wrote:

Hi,
I am trying to write a percussion part with a mix of untuned and tuned 
percussion, however, when I switch from percussion clef back to G clef, 
all the notes subsequently are shown as the same pitch (b), see 
screenshot below, the final bar is supposed to be as follows:

\clef G \relative c { a16->\f ^\markup "Glockenspiel" g-> f8-> d->
}




Any advice on how to get the notation table back to the default would be 
appreciated.


Regards,

Richard.


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Re: Two adjacent clefs

[William Rehwinkel via LilyPond user discussion]

Dear Richard,

I'm not sure what you mean, but I think I would do something like this 
for putting multiple clefs together.


-William

% --
\version "2.25.16"

\relative c' {
  \override Staff.Clef.stencil = #ly:text-interface::print
  \override Staff.Clef.text = \markup { \raise #-2 \musicglyph 
"clefs.G" \raise #0 \musicglyph "clefs.F" \raise #-1 \musicglyph 
"clefs.C" \raise #0 \musicglyph "clefs.C" }

  \clef tenor
  c4
}
% --


On 6/8/24 10:03, Richard Shann wrote:

I think it's not uncommon for two clefs to appear side by side at the
start of a piece (e.g. when a piano piece starts with both staves in
bass clef so as to alert the pianist that the upper staff is not in
treble clef).
How is this done in LilyPond?

Richard Shann




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Re: Question about beaming and timing count

[William Rehwinkel via LilyPond user discussion]

Dear Carl,

For both examples, the difference is the example writes "\tuplet 5/8" 
instead of "5/4" telling lilypond to put 5 notes in the space of 8 
(which is not how people usually write 5-tuplets).


-William

On 6/7/24 10:56, Carl Witthoft wrote:

Please take a look at these three snippets, from a piece in 4/4 time.
LilyPond 2.24.3 via Frescobaldi in MacOS.
https://i.sstatic.net/6cJnOLBM.jpg , 
if attachment fails


  The top and bottom ones are the ones I don't understand.  The middle 
one is how I expect beams to be presented, i.e. 5 notes where 4 32nd 
notes are "normal" are beamed as 32nds.


The top & bottom samples  are also beamed as 32nds, but as shown by 
where the measure break occurs, are "calculated" internally as five 
sixteenth notes.
Is Lilypond fouling up or have I failed to take notice of some other 
note-length command?

regards,
Carl Witthoft


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Re: Vanishing nested tuplet

[William Rehwinkel via LilyPond user discussion]

On MacOS x86, When running your file on 2.25.7, only one tuplet is 
shown, but when running 2.25.16, both tuplets are shown. Seems like 
there was a bug that has recently been fixed. Can you try running on 
2.25.16?


Thanks,
-William

On 6/5/24 22:26, David Wright wrote:

On Wed 05 Jun 2024 at 19:24:48 (-0600), Gregory Evans wrote:

Hi Mark thanks for the reply,
so my mwe didn’t show, but the measure is 2/5 which means the duration of
the measure is that of a half note prolated by 5:4, so that is where the 8
in 9:*8* comes from.

Regardless of this discrepancy, lilypond is perfectly happy to display
"incomplete" tuplets. see:

\tuplet 3/2 {
 c'4.
 }

so I don’t believe the issue is that the outermost tuplet is not filled
*completely*, rather it seems to be a problem that the outermost tuplet is
filled *with only one tuplet*. Your example displays the sub-tuplet because
the outermost tuplet contains more than a single tuplet. If we replace your c'4
c' c' with a separate tuplet, everything behaves as expected as well. Well,
I should say that my assertions as to why the other examples work correctly
is a guess.



p.s. Again to clarify for anyone following this discussion, it is the
innermost tuplet bracket that disappears for me.


I'm not sure I quite understand the issue, as I can run the code but
don't know what your expectations are.

Cheers,
David.


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odd_2.25.16.pdf.pdf
Description: Adobe PDF document


odd_2.25.7.pdf
Description: Adobe PDF document


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Get Width and Height of markup

[William Rehwinkel via LilyPond user discussion]

Dear list,

In the following example, I am wondering how I can find the measurements 
of the dimensions, specifically the width, of a markup object. This is 
so I can automatically indent the first line by the length of the 
instrumentName.


Thanks,
-William

% 
\version "2.25.7"

pref = \markup { piece title here }

% How can I determine this from the width of \pref
pref_width = #(ly:inch 1)

extra_pad = #(ly:cm 0.5)

\score {
  \new Staff \with {instrumentName = \pref } {c'1 \break c'1 }
}

\layout {
  #(define indent (+ pref_width extra_pad))
}
% 

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Re: Disable all padding and collision around markup

[William Rehwinkel via LilyPond user discussion]

This is perfect, thanks so much for your responses everybody.

-William

On 5/19/24 10:56, Kieren MacMillan wrote:

Hi Knute,


There are ways to "disable the padding" (a.k.a. have the spacing engine
ignore the TextScript). However, it might be just as easy — or maybe
even easier? — to simply tweak the X-offset and Y-offset rather than
using extra-offset:

The extra-offset happens late in the rendering process, so the other grobs 
can't adjust to its movement like they do with X- and Y-offset.


Exactly!  :)
— Kieren
__

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Disable all padding and collision around markup

[William Rehwinkel via LilyPond user discussion]

Dear list,

In the following example, I use a section label and a TextScript on a 
note. I offset the markup text so that it appears inside the staff, but 
it still makes the section text higher up. I would like to know if it is 
possible to disable this padding around the TextScript, so that the 
section label appears directly over the staff without the extra space, 
the same way as it does when there is no text script.


Thanks,
-William

% --
\version "2.25.7"

% Without moving text
\score {
  \relative c' {
\sectionLabel "Some section label text here"
\clef alto c2^\markup\whiteout\bold "Text"
  }
}

% Example with moving text
\score {
  \relative c' {
\once \override NoteHead.extra-spacing-width = #'( -6 . 0 )
\once \override TextScript.extra-offset = #'(-6 . -3)
\once \override TextScript.outside-staff-priority = ##f
\sectionLabel "Some section label text here"
\clef alto c2^\markup\whiteout\bold "Text"
  }
}
% How the section label would be positioned without the text markup
\score {
  \relative c' {
\sectionLabel "Some section label text here"
\clef alto c2
  }
}


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will...@williamrehwinkel.net

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Re: Can I output PNG and midi from the same file?

[William Rehwinkel via LilyPond user discussion]

Dear Peter,

Assuming you wrote something like

% -
\version "2.25.7"

\score {
  c'4
  \midi {}
}
% -

and then ran lilypond --PNG midi.ly, then there would be no PNG output. 
This is because if you only include the \midi block, then lilypond 
produces no visual output at all. But if you don't include either 
\layout or \midi then lilypond defaults to visual output only.


If you add \layout {} next to \midi {} then it should produce both 
visual and midi output.


Thanks,
-William

On 5/12/24 23:21, Peter Baughman wrote:

Greetings,

I have a few .ly files that work great and produce lovely pictures when 
I build then with a command like:


|lilypond --png my_song.ly|​

I started to play around with midi output and was a little suprised to 
find that I needed to add a \midi code block to my file (instead of some 
other command-line flag when building) but this was not a big deal - 
After 20 or 30 minutes I figured out how to do it and got some lovely 
sound output.


I was surprised, though to discover that when I built my songs they were 
no longer producing png output.


Is there a way to get both PNG and midi output from the same .ly file, 
or do I need to invent some preprocessor step that adds a |\midi|​ block 
to a file or perhaps removes one from a file to get png output?


Thank you,
Pete Baughman


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Re: Unison notes, one stem

[William Rehwinkel via LilyPond user discussion]

Dear Dirck,

There is a very easy way! You can simply do

\version "2.25.7"

\relative c' 4

-William

On 5/6/24 22:44, Dirck Nagy wrote:

Hi all

Does Lilypond have an easy way to display unisons on one stem?  (it is 
fairly common in guitar music; same note played on 2 strings 
simultaneously)  (see image at bottom of email)


I have several instances where it would not be appropriate to make these 
unisons into separately-stemmed voices.


The only way i can think to do this is to use a separate voice, then 
hide stems and tweak positions...but this seems like a lot of work!


thanks!

dirck



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will...@williamrehwinkel.net

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Re: subscript in lyrics

[William Rehwinkel via LilyPond user discussion]

Dear David,

You have to make the whole title a markup, in other words

title = \markup { 539. Threshing Floor of Aruna. 1100 \smallCaps BC }

-William

On 4/26/24 18:49, David Olson wrote:

Thanks for drawing my attention to \markup

Does \markup also work in the header?

If I'm giving a historical date in the title and wish "BCE" to be smallCaps

\header {
  title = "539. Threshing Floor of Aruna. 1100  \markup { \smallCaps { BCE } }."
}

Its seems that the \markup command is not being compiled.
The PDF only prints the literal text of the command itself, including the curly 
brackets.

Thanks again for your earlier help; it works beautifully.

David Olson
Los Angeles



- Original Message -
From: "mskala" 
To: "dadadharma @dslextreme.com" 
Cc: "lilypond-user" 
Sent: Saturday, April 20, 2024 5:59:03 PM
Subject: Re: subscript in lyrics

On Sat, 20 Apr 2024, David Olson wrote:


I'm a lyric poet writing songs about science.

"CO2" is three syllables and often works better than "carbon dioxide".

It's acceptable even if "2" doesn't appear as a subscript (one sees this
usage frequently), but subscript would be cool.

A superscript option would be cool too.


Easy enough to do using \markup and \sub, as in:

<<
   \new Voice = melody { c'2 c'2 | c'4 bes4 f'2 | }
   \new Lyrics \lyricsto melody { \lyricmode {
 "ooh!" "ooh!" C O \markup { \sub { "2" } "!" }
   } }




There are a number of variations possible:  \super for superscript,
\normal-size-sub for subscript without making the font smaller (which
might be easier to read even if it's not standard chemistry usage), and so
on.  In general, you can just break into \markup and use any of the usual
markup commands.  See "Formatting text" in the Notation manual:
https://lilypond.org/doc/v2.24/Documentation/notation/formatting-text



--
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Re: Highlighting lyric words

[William Rehwinkel via LilyPond user discussion]

I don't know what you mean by highlighting. But you can override 
properties of text in lyrics like this:


-William

% --
\version "2.25.7"

\relative c' {
  c4 c
} \addlyrics {
  Hello \once\override LyricText.color = #red world
}


On 4/23/24 23:18, Walt North wrote:
I have found how to highlight notes in the music.  Similarly is there 
anyway to highlight either individual lyric words or perhaps one stanza?





--
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will...@williamrehwinkel.net

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Re: Lyrics and Barchecks

[William Rehwinkel via LilyPond user discussion]

Dear Steve,

I think the reason for this is hinted at by the cryptic "5/8" in the 
barcheck failure message. The "mine" at the end of the first measure 
extends all the way until the next note ("I"), which is not at the 
beginning of a bar, causing the barcheck to fail. If you try the 
following example which is identical except for removing "\skip |" which 
doesn't do anything and changing the notes of the third measure, the 
barcheck warning goes away.


I think the only way to deal with this is to put barline checks in 
lyrics only when the lyric is on the first beat of the measure.


Thanks,
-William

%
\version "2.25.6"
\language "english"

<<
\new Staff { \relative c' {
  f8 4 f8 f4 8 f8~ |
  4 r4 r2 |
  4 4
  %r2 r8 f8 4 |
  }
}
  \addlyrics { \lyricmode {
This Lit -- tle star -- O -- mine __ |
I said |
}
  }
>>


On 4/23/24 20:52, Steve Carlock wrote:

I'm confused.  Given the following:

%
\version "2.24.3"
\language "english"

<<
\new Staff { \relative c' {
   f8 4 f8 f4 8 f8~ |
   4 r4 r2 |
   r2 r8 f8 4 |
   }
}
   \addlyrics { \lyricmode {
     This Lit -- tle star -- O -- mine __ |
     \skip |
     I said |
     }
   }
 >>
%

I get a barcheck warning on the first measure of lyrics.  I can resolve 
it by adding a \skip to the end of the lyrics for the first measure, by 
removing the bar at the end of the first measure of lyrics, or by 
removing the third measure completely (both music and lyric).


I have 6 notes in the first measure and 6 syllables in the lyrics so I 
don't understand why I'm getting a barcheck warning, especially because 
if you take out the third measure of music you don't get the warning.


(In all cases the layout is exactly what I'm expecting/wanting).

Please help me see the error of my ways.
Thanks!
  -steve

Version Info:
Lilypond: 2.24.3
Frescobaldi: 3.2
Extension API: 0.9.0
Python: 3.10.12
python-ly: 0.9.6
Qt: 5.15.3
PyQt: 5.15.6
sip: 6.5.1
qpageview: 0.6.2
poppler: 22.2.0
python-poppler-qt: 0.75.0
OS: Linux-5.15.0-102-generic-x86_64-with-glibc2.35


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will...@williamrehwinkel.net

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Re: Special notation question

[William Rehwinkel via LilyPond user discussion]

Dear Xavier,

I think this is called "void notation". I write it in the following way 
(including an example of how to write whole notes), but it is very 
time-consuming, and perhaps someone else has an easier way to 
automatically write music like this.


Thanks,
-William

% 
\version "2.25.7"

\relative b'' {
  \time 3/2
  \scaleDurations 2/1 {
  \override NoteHead.duration-log = #1
  b4 a4. g8 | \once\revert NoteHead.duration-log f1*1/2 e4 |

}}
% 

On 4/21/24 11:13, Xavier Mayeur wrote:

Hello,

In a \time 3/2 score, how can I write the following snippet in Lilypond?

I wonder how to create the 'g' note with that special appearance and 
with the right duration...


--
Cordialement,

Xavier MAYEUR
Bruxelles



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will...@williamrehwinkel.net

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Re: coloring notes with more voices in a staff

[William Rehwinkel via LilyPond user discussion]

Dear Joop,

Use \tweak color #red , like so

\version "2.25.6"
\relative c
  {
   f'2( g4.)
<< { d8 | f4 f4 g16 a }
   { \tweak color #red
 g8 | d4 d4 e16 f
   }
 >>
a8 r4
  }

Thanks,
-William

On 3/18/24 12:41, Go77 wrote:

Hi,

I'm trying to color the note heads of a single voice in a staff. I tried 
to do that with the following code:


/\version "2.24.3"
\relative c
   {
    f'2( g4.)
     << { d8 | f4 f4 g16 a }
    { \override NoteHead.color = #red
  g8 | d4 d4 e16 f
  \revert NoteHead.color } >>
     a8 r4
   } /

This results in the noteheads of /both /voices being colored instead of 
only the upper one (in this case):


So, is there any way to achieve my goal of coloring only the upper notes?

Joop





--
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will...@williamrehwinkel.net

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Re: Tremolo/triplet problem

[William Rehwinkel via LilyPond user discussion]

Dear Ralph,

I think this replicates how the original score looks:

\version "2.25.7"

\relative b {
  \clef alto
  \time 4/4
  \tuplet 6/4 { b2.:8 } c4.*2/3:8 d4.*2/3:8 | c2.*2/3:8 b4.*2/3:8 a4.*2/3:8
}

-William

On 3/6/24 21:53, Ralph Palmer wrote:

Hi -

Thanks for all your work and for your help to me over a number of years.

I'm running into a problem I have no idea how to fix. I've looked at 
tremolos in the Notation Reference and in the Snippet Repository, but 
can't find a solution. I would appreciate any help. The first image is 
the result of tremoloTripletProblem.ly. The second image is from the 
score I'm trying to reproduce (albeit in a slightly more legible 
fashion, I hope).


tremoloTripletProblem.ly :

%

\version "2.24.0"

\language english

tremoloTripletProblem =
\relative c' {
   \clef alto
   \key bf \major
   \time 4/4

     \tuplet 3/2 4
     { bf8-.\pp( 8-. 8-. 8-. 8-. 8-.)
       c8-.( 8-. 8-. a8-. 8-. 8-.) |
     bf2.:6 c4.:3 d4:3 |
     c2.:6 bf4.:3 a4.:3 |
     }
}

\score {
   \tremoloTripletProblem
}

%%%

image.png


image.png
Any suggestions? I imagine the simplest solution would be to simply go 
with half and quarter notes as tripletted with the tremolo mark, but I 
kind of like the composer's notation.


All the best,

Ralph

__
Ralph Palmer
Seattle
USA
(he, him, his)
palmer.r.vio...@gmail.com 


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Omit footnotes and footnote text from score

[William Rehwinkel via LilyPond user discussion]

Dear list,

I am wondering if there is a way to omit footnotes and the text that 
accompanies them from a score. the reason for this is I am making a 
critical edition of a baroque trio sonata from a manuscript, and would 
like to use footnotes for editorial changes in the full score and not 
show them in the parts.


For example, see the following mwe:

\version "2.25.7"

part = \relative d' {\footnote #'(0.5 . 2) "Example footnote" d4 }

\book {
  \score {
\new Staff \part
  }
}

\book {
  \score {
\new Staff \with {\omit Footnote }\part
  }
}

In file-1.ly, the footnote number and connecting line is not shown in 
the score, but the text still appears at the bottom of the page.


Thanks in advance for your help,
-William

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will...@williamrehwinkel.net

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Re: "Squished" tie between 2 notes

[William Rehwinkel via LilyPond user discussion]

Dear George,

I put the following in a style-sheet which I import into every lilypond 
file:


\context {
  \Voice
  \override Tie.springs-and-rods = #ly:spanner::set-spacing-rods
  \override Tie.minimum-length = #4
  \override Tie.minimum-length-after-break = #4
}

It shouldn't have any impact except that it will extend some of these 
squished ties.


Let me know if this works for you.
-William

On 2/11/24 12:30, George wrote:
At the moment I am having an issue with a tie from the alto part where 
it is automatically "squished" by Lillypond. I didn't find an answer 
anywhere else on how to create some space between or make the tie 
somewhat noticeable. Also using the command/\shape/ on the tie was not 
the right choice this time (which I successfully used on some colliding 
ties somewhere else in the piece).


This is how it looks in the original source:
tie.png
and this is how Lilypond engraved it (notice the tie became a very 
little dot):

bar 78 lily.png
Here is the relevant part of my code (I include one measure before and 
one after to preserve the layout) :

_
\version "2.24.3"


global = { \time 4/4 \key a \minor }


soprano = \relative d'' {
   \voiceOne
d8 c16 b d c b a b2~ |
8 gis a4~ 16 b c8~ 16 a fis! b |
a gis fis e a8 a~ 16 gis a fis gis8.^\trill a16

}

alto = \relative e' {
   \voiceTwo

e4 a2 gis8. b16 |
e,4~ 8 dis16 e fis8  r16 fis~  8 8|
e4~ 16 e fis! dis e2 |

}


tenor = \relative g {
   \voiceOne
r8 gis a c f, d' b d~|
8 b c4~ 8 r8  a b |
c2 b |

}

bass = \relative c, {
   \voiceTwo

c8 r r f' d16 e f8~ 16 d b d |
c d e8~ 16 c a c dis,4 r8 dis' |
e1 |
}

\score {
   \new PianoStaff <<

     \new Staff = "up" <<
       \global
       \clef "treble"
       \new Voice = "soprano" { \soprano }
       \new Voice = "alto" { \alto }
     >>

     \new Staff = "down" <<
       \global
       \clef "bass"
       \new Voice = "tenor" { \tenor }
       \new Voice = "bass" { \bass }
     >>

   >>

   \layout {
     \context {
       \Score
       \override SpacingSpanner.common-shortest-duration = 
#(ly:make-moment 1/8 )

     }
   }
}

I would really appreciate your help.

Best,
George


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will...@williamrehwinkel.net

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Re: Help with music function

[William Rehwinkel via LilyPond user discussion]

Dear Mark,

I did this in a slightly different way...if you do

\displayMusic c4\rest

you can see how to represent a rest using the make-music procedure in 
scheme code. Modifying that a bit, I got


% 
\version "2.25.6"

%\displayMusic c4\rest =
%(make-music
  %'RestEvent
  %'duration
  %(ly:make-duration 2)
  %'pitch
  %(ly:make-pitch -1 0))

restt = #(define-music-function (pit dur) (ly:pitch? ly:duration?)
(make-music
'RestEvent
'duration
dur
'pitch
pit)
)

\relative c' {
  \restt c 4
  \restt e 4
  \restt g 4
  \restt c 4
  \restt b 2
  \restt a 2
  \restt g 2.
  \restt g 4
}
% 

-William


On 12/18/23 00:33, Mark Probert wrote:

Hi.

I'm struggling some with writing a music function for rests.  Basically 
I want to be able to write something like


  \rel-rest( b', 1)

which would place a dotted quarter rest on the indicated pitch (the 
equivalent of


   b'1\rest

I'm starting with

rel-rest =
#(define-music-function (pit dur) (ly:pitch? ly:duration?)
   #{
     #pit#dur\rest
   #})

but that gives me an error.

Any suggestions?

--

--
-mark.


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Re: What's causing this extra bar line and empty bar?

[William Rehwinkel via LilyPond user discussion]

Dear Robert,

in the future, please take care that the minimal working example does 
not contain any undefined symbols that cause errors. Here, simply adding 
"strike = \fermata" at the beginning of the file alleviated all these 
errors, however.


After using convert-ly and rendering (using version 2.25.7) this extra 
barline doesn't appear. Can you try updating to the most recent version 
of lilypond (.24 or .25), and see if that helps?


Thanks,
-William

On 11/19/23 19:00, Robert Hickman wrote:

Hi people. I'm trying to reproduce the formatting from a tune that
started out in ABC notation, which is formatted with line breaks
around phrases instead of bars. It is working as intended, except for
an empty bar that's showing up after the first repeat sign, and I have
no idea what's causing it. Also there's extra space being added before
the other line breaks as well:

https://pureocarinas.com/res/lilypond/aikendrumnotation_0c01fcb19c471b86d2ab94badb4b7de55b3660f2.png

The following is how it should be formatted (generated by ABCM2PS).

https://pureocarinas.com/res/abc_converter/aikendrumnotation_0c01fcb19c471b86d2ab94badb4b7de55b3660f2.png

And here's the code, without the definition of the \strike articulation symbol.

\version "2.18.2"

\header {tagline = ""}
{
 \numericTimeSignature
 \time 4/4
 \key f \major
 \repeat volta 2 {
 \partial 4 f'8g'8 | a'4(  a'4 \strike) bes'8(a'8 g'8\strike f'8) |
d'2 f'4. d'8 \strike | c'4 c'4( d'4f'4) | a'4( g'4 g'4 \strike)
\allowBreak \break
 \partial 4 f'8g'8 | a'4(a'4 \strike) bes'8(a'8g'8 \strike f'8) |
d'2 f'4.( d'8 \strike) | c'4c'4d'(e'4) | f'2. \allowBreak \break }
 \repeat volta 2 {
 \partial 4 f'8g'8 | a'4( a'4\strike a'4\strike) g'8f'8 | bes'2
d''4.( bes'8\strike) | a'4c''4( a'4\strike) f'4 | a'4g'4( g'4\strike)
\allowBreak \break
 \partial 4 f'8g'8 | a'4(a'4\strike) bes'8( a'8 g'8\strike  f'8) |
d'2 f'4.(d'8\strike) | c'4(c'4\strike) d'4 e'4 | f'4. }
}



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will...@williamrehwinkel.net

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Re: init.ly Error Making PDF

[William Rehwinkel via LilyPond user discussion]

yes, it is a known bug due to a ghostscript security patch. Try using 
the pre-built binary for lilypond instead of homebrew.


-William

On 11/15/23 01:13, Ernie Braganza wrote:
I just updated my Mac using Homebrew and I now get this error when I run 
lilypond. It compiles fine if I create a PostScript file using the --ps 
option.



My ghostscript was updated to version 10.02.1 Is there a known bug? I 
get this when I run lilypond with the -V switch:


GPL Ghostscript 10.02.1: Unrecoverable error, exit code 1


I checked permissions and those are correct for ghostscript


Here's the error message I get:

-

Drawing systems...
Converting to `basic.pdf'...
warning: `(gs -q -dNODISPLAY -dNOSAFER -dNOPAUSE -dBATCH 
-dAutoRotatePages=/None -dPrinted=false 
/var/folders/lc/_0_zmjsx06l7gd97v8qpxz14gp/T//lilypond-tmp-3593263)' 
failed (256)


/usr/local/Cellar/lilypond/2.24.2/share/lilypond/2.24.2/ly/init.ly:65:2: 
error: Guile signaled an error for the expression beginning here

#
  (let ((book-handler (if (defined? 'default-toplevel-book-handler)
Throw to key `ly-file-failed' with args `()'.
Exited with return code 1.

-

I am using LilyPond 2.24.2 (running Guile 3.0) on macOS Monterey 
(ver.12.6.8)


I installed lilypond using Homebrew (4.1.20)



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Re: Fermata Markup below Staff

[William Rehwinkel via LilyPond user discussion]

I see, thanks for the update.

I found a solution to this problem here: 
https://www.reddit.com/r/lilypond/comments/vozo9z/comment/ieibg4j/ does 
this do what you were hoping for?


-William

Pasted below in-case this link goes away...

\version "2.25.7"

\score {
\new PianoStaff
<<
\new Staff = "upper"
\relative c' {
c1
c
}

\new Staff = "lower" \with { \consists "Mark_engraver" }
\relative c' {
\override Staff.RehearsalMark.direction = #DOWN
\override Staff.RehearsalMark.rotation = #'(180 0 0)
c1
\mark \markup { \smaller \smaller \musicglyph 
#"scripts.ufermata" }

c
}
>>
}


On 11/12/23 11:20, Johannes Roeßler wrote:

Am 12.11.2023 um 17:10 schrieb William Rehwinkel:

\relative c' {
e1 \break \once \override Score.RehearsalMark.break-visibility = 
#end-of-line-visible \tweak direction #DOWN \mark \markup { 
\musicglyph #"scripts.dfermata" } \bar "||" e2
} 


thx William for the quick response, always an amazing group...

works for one fermata - but in my context (up in soprano, down in bass) 
it gives a warning "conflict with event: `ad-hoc-mark-event'" and only 
produces the first one:


\version "2.24.0"

\score {
   \new StaffGroup <<
  \new Staff {
    e1 \break \once \override Score.RehearsalMark.break-visibility = 
#end-of-line-visible \mark \markup { \musicglyph #"scripts.ufermata" } 
\bar "||" e2

  }
  \new Staff {
     e1 \break \once \override Score.RehearsalMark.break-visibility 
= #end-of-line-visible \tweak direction #DOWN \mark \markup { 
\musicglyph #"scripts.dfermata" }

     \bar "||" e2
  }
   >>
   \layout {

   }
}



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will...@williamrehwinkel.net

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Re: Fermata Markup below Staff

[William Rehwinkel via LilyPond user discussion]

Dear Johannes,

If you change "ufermata" to "dfermata" and insert "\tweak direction 
#DOWN" before "\mark" that should get you what you want.


Thanks,
-William

\version "2.24.0"
\relative c' {
e1 \break \once \override Score.RehearsalMark.break-visibility = 
#end-of-line-visible \tweak direction #DOWN \mark \markup { \musicglyph 
#"scripts.dfermata" } \bar "||" e2

}


On 11/12/23 11:00, Johannes Roeßler wrote:

Hi all,

I managed to place a fermata above a barline, I even managed to place it 
correctly at the end of the line, but now I would like to place a 
fermata sign below the barline (and rotate it 180°) too (in the 
bassvoice of a choir staff group) - simplified example:


\version "2.24.0"
\relative c' {
e1 \break \once \override Score.RehearsalMark.break-visibility = 
#end-of-line-visible \mark \markup { \musicglyph #"scripts.ufermata" } 
\bar "||" e2

}

What do I need to do?

Best Johannes




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Re: Where is my tuplet bracket?

[William Rehwinkel via LilyPond user discussion]

I don't know, but what I meant to say is that this use of \tuplet 
outside of \voices or a split into multiple voices seems to me to be 
"undefined behavior" ("unspecified"?).


-William

On 10/16/23 19:09, David Kastrup wrote:

William Rehwinkel  writes:


Dear David,

This seems like an improper/unintended use of \tuplet.


How so?

How is

   \tuplet 3/2 \voices "",2 << { \voiceOne d''4 c'' es'' \oneVoice } \\
  { g'4 as'2 } >>

improper while

   \tuplet 3/2  << { \voiceOne d''4 c'' es'' \oneVoice }
\new Voice { \voiceTwo g'4 as'2 } >>

isn't?  Either one does not create a new voice context for the upper
line, as the tie reaching into the upper voice (here omitted) proves.



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Re: Where is my tuplet bracket?

[William Rehwinkel via LilyPond user discussion]

Dear David,

This seems like an improper/unintended use of \tuplet. I would have used 
\scaleDurations instead.


However, if you slightly modify the mwe as shown below, the tuplet 
bracket is shown.


Thanks,
-William

\version "2.25.7"

\new Staff {
  \key c \minor
  < es' g' > < bes' d''~ >2. |
  \tuplet 3/2  << { \voiceOne d''4 c'' es'' \oneVoice }
  \new Voice { \voiceTwo g'4 as'2 } >>
  < f' as' >4  |
}


On 10/16/23 17:50, David Kastrup wrote:


Admittedly, this is still better than the warning and crash an earlier
version rather than current master puts out.

But now there is neither warning nor crash.



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Re: Beam issue

[William Rehwinkel via LilyPond user discussion]

See 
https://lilypond.org/doc/v2.25/Documentation/notation/setting-automatic-beam-behavior


In engraving from the Romantic and Classical periods, beams often begin 
midway through the measure in 3/4 time, but modern practice is to avoid 
the false impression of 6/8 time (see Gould, p. 153). Similar situations 
arise in 3/8 time. This behavior is controlled by the context property 
beamHalfMeasure, which has effect only in time signatures with 3 in the 
numerator:


\relative a' {
  \time 3/4
  r4. a8 a a |
  \set Timing.beamHalfMeasure = ##f
  r4. a8 a a |
}

Thanks,
-William

On 9/23/23 14:32, Rajesh Baskar wrote:

Hi,

In a normal musical notation when you have a time signature of 3/4 and 
have a dotted note, eighth note, eighth note and an eighth note - that 
the first eighth note should have "no beam". This is how other software 
like MuseScore and Finale works. Why does Lilypond do this? I know there 
is a \noBeam markup but in my case this is be difficult to use as I'm 
dynamically generating the notation.


Any advise will be helpful. See the attached image for illustration.

Thanks,
Raj

\version "2.22.2" \language english \header { tagline = ##f }
\score {\new Staff
     {\set Staff.midiInstrument = #"acoustic grand" \key c \major 
\time 3/4 \clef bass e,4. d,8 c, e, \bar "||"} \layout { \context { 
\Score proportionalNotationDuration = #(ly:make-moment 1/2) } } \midi { 
\tempo 1 = 72}}





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Re: tagline = ##f does not work in score header block

[William Rehwinkel via LilyPond user discussion]

Dear Knute,

Searching `lilypond "tagline"` on google I found 
https://lilypond.org/doc/v2.23/Documentation/notation/creating-titles-headers-and-footers 
where it is stated "The default LilyPond footer text can be changed by 
adding a tagline in the top-level \header block." (it seems this is 
slightly incorrect because it can be put in some lower-level sections 
like bookpart, maybe that is unintentional).


For the second part, it seems like none of the values that you can 
modify in a header block are in the command index, but 
https://lilypond.org/doc/v2.25/Documentation/notation/default-layout-of-bookpart-and-score-titles 
shows all of them.


This raises the question of how someone who is new to lilypond would 
figure out that it is called "tagline", I suppose either they would find 
it in the list of header values in the documentation, or find it through 
some search on google.


-Will

On 9/12/23 18:38, Knute Snortum wrote:

Hi everyone.

I have a few observations that I'd like to share.  Nothin too urgent.

If you put tagline = ##f in a header block, it will work everywhere 
except in the score block.  Here is a MWE to illustrate this:


\version "2.25.7"

% \header { tagline = ##f } % <-- this works

\book {
   % \header { tagline = ##f } % <-- this works
   \bookpart {
     % \header { tagline = ##f } % <-- this works
     \score {
       \header { tagline = ##f } % <-- this does not work
       \new Staff { c''4 4 4 4  }
     }
   }
}

For me the solution looks like I'm going to put a header block in a 
bookpark block surrounding my score block, and put tagline = ##f there.


Another observation: tagline is not in either the command index or the 
index in the Notation Manual.  The documentation I could find on tagline 
was pretty sparse (unless I missed something).


I could fill out an issue if you think it rises to that.

--
Knute Snortum



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

[William Rehwinkel via LilyPond user discussion]

Dear Kevin,

I use "\sectionLabel"s for this.


*\version "2.25.6"**
**\language "english"**

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

**  \sectionLabel \markup{ \box \pad-markup #0.5 "A" }**
**  d8[ e8**
**e8] g8[ a8 b8] |**
**  \break**
**  \sectionLabel \markup{  \box \pad-markup #0.5 "B"  }**
**  d8[ e8**
**e8] g8[ a8 b8] |**
**  \bar "|."**
**}**

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

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

BTw, I just saw the second email you sent in this thread, and I'm not 
exactly sure what you mean but I would probably have a separate variable 
with the section labels, and you can combine them, a bit like this:


*\version "2.25.7"**
**
**sections={ \sectionLabel "1" s1 \sectionLabel "2"}**
**music = { c'4 d' e' d' c' e' g' c' }**
**
**\score {**
**  \new Staff << \sections \music >>**
**}*


thanks,
-William

On 8/16/23 14:02, Kevin Cole wrote:

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



\version "2.24.2"
\language "english"

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

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

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

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





--
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|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net  |
| PGP key:|
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Re: s-curve slurs across staves?

[William Rehwinkel via LilyPond user discussion]

What PDF did you find this in?

-William

On 8/16/23 12:50, Jin Choi wrote:

I came across a PDF describing updates to \shape that let you use head centered 
coordinates and polar coordinates that would make this easier. But my 2.24.0 
version of lilypond doesn’t seem to include \shapeII. What is the status of 
that?


On Aug 16, 2023, at 5:33 AM, Lukas-Fabian Moser  wrote:

Hi Jin,

Am 16.08.23 um 04:48 schrieb Jin Choi:

Is it possible to get this style of s-curve shaped slurs across staves?

It's possible, but it's not fun.

\version "2.24.0"

\new PianoStaff
<<
   \new Staff = upper {
 <<
   {
   r8
   \shape #'((0 . 0) (4 . -2) (0 . 6) (1 . 3)) Slur
   8_(   \change Staff = lower 4)
   }
   \new Voice { s2 r }
 >>
   }
   \new Staff = lower \with { \clef bass } {
 cis,4 r s r

   }
Slurs live in a single voice (that's something I'm working on, but I don't have much time for 
LilyPond work at the moment), so we have to create one voice that switches to the other staff on 
the way. Then we have to adjust the control points manually, a task which is made harder by the 
need to manually move the right tip of the slur from "under the note" to "above the 
note".

There's definitely room for improvement, both in my example and in LilyPond 
proper.

Lukas





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| PGP key:|
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Re: strange detached beam issue

[William Rehwinkel via LilyPond user discussion]

It should be noted that on 2.25.7 this doesn't happen on my machine, and 
the beam renders correctly (after running convert-ly on your snippet, it 
didn't change anything).


-William

On 8/15/23 18:11, Jin Choi wrote:

I have a section of piano music where two voices start in the treble clef and 
subsequently move down into the bass clef. When the right hand moves down, the 
beam stays in the treble clef unattached to anything:



When I try to isolate this section, the problem does not occur. I am mystified 
as to what is going on. What might be some things I could try?

\version "2.24.1"

top = { \change Staff = "upper" \voiceTwo }
bottom = { \change Staff = "lower" \voiceOne }

upper = \relative c'' {
   \time 2/2
   \key c \major
   \voiceOne
   r8 bes'\mf( a gis a ees d cis |
   d bes a gis a ees d cis |
   d) bes'\dim( a\! gis a ees d cis |
   d[ \bottom bes a gis] a[ ees d)] r8 |
   \top
   \oneVoice
   r8\p
}

lower = \relative c' {
   \clef bass
   a4 r8 \top bes'( a gis a ees |
   d cis d \bottom \voiceTwo bes a gis a ees |
   d cis d bes' a gis a ees |
   d cis d bes a gis a cis |
   \oneVoice
   fis,4)
   
}


\score {
   \layout {
 \context {
   \Staff
   \consists Merge_rests_engraver
 }
 \context {
   \PianoStaff
   \override StaffGrouper.staff-staff-spacing.basic-distance = #11
   \override TextScript.avoid-slur = #'outside
   \override TupletBracket.bracket-visibility = ##f
 }
   }
   \new PianoStaff {
 <<
 \new Staff = "upper" \upper
 \new Staff = "lower" \lower
 >>
   }
}



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Re: vertically center rests in polyphonic voices

[William Rehwinkel via LilyPond user discussion]

Dear Jin,

You can write 4\rest instead of r4 to specify what "pitch" 
(vertical position) the rest should appear at. You should write the note 
that is the middle line of the staff for it to appear like a \oneVoice 
rest. So


\version "2.25.6"

upper = \relative c'' {
  \new Voice {
    \voiceOne c4 b4\rest c4 b4\rest
  }
  \new Voice {
    \voiceTwo c4 b4\rest c4 b4\rest
  }
}
\new Staff = "upper" \upper


Thanks,
-William

On 8/10/23 20:27, Jin Choi wrote:

\version "2.24.1"

upper = \relative c'' {
   \new Voice {
 \voiceOne c4 r4 c4 r4
   }
   \new Voice {
 \voiceTwo c4 r4 c4 r4
   }
}
\new Staff = "upper" \upper


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| PGP key:|
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Re: Removing barlines temporarily

[William Rehwinkel via LilyPond user discussion]

Dear Jin,

Depending on what type of music it is, you can also do this:

-William

\version "2.25.7"

\relative c' {
  c4 d e f g a b c | c \set Timing.measureBarType = "" b a g f e d c | 
c \set Timing.measureBarType = "|" d e f g a b c

}


On 8/10/23 11:36, Jin Choi wrote:

I have a section of a score where all the barlines are absent. How do I 
temporarily turn off automatic bar lines?


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Re: Polyphonic piano writing - beam directions

[William Rehwinkel via LilyPond user discussion]

Dear Jin,

In the future, it will be helpful to include a minimum working example, 
so we can get a better idea of what step you are at, and what exactly 
the problem is, so we can modify the code more directly.


For writing cross-staff beams, you can use \voiceOne when the notes go 
to the bottom staff and \voiceTwo when they go to the top to replicate 
kneed staves, like


\version "2.25.7"

\new PianoStaff <<
  \new Staff = "up" \relative g' { \voiceTwo g16 e c \change Staff = 
"do" \voiceOne g e g \change Staff = "up" \voiceTwo c e}

  \new Staff = "do" \with {\clef bass } s2
>>

\markup { as opposed to for example: }

\new PianoStaff <<
  \new Staff = "up" \relative g' { \voiceTwo g16 e c \change Staff = 
"do" g e g \change Staff = "up" c e}

  \new Staff = "do" \with {\clef bass } s2
>>

Thanks,
-William

On 8/8/23 19:42, Jin Choi wrote:
I’m trying to transcribe a piano piece (Rachmaninoff 3 first mvt) 
 that has several sections that are most easily written as polyphonic 
passages with different voices.


As an example, from 
https://s9.imslp.org/files/imglnks/usimg/5/59/IMSLP248685-SIBLEY1802.18602.bfe9-39087009348535score.pdf, 
starting at rehearsal mark 2 on page 5.


I would like to have the lower voice use kneed beams as in this score, 
but if I use \voiceOne and \voiceTwo for the two voices, the second 
voice has all down stems regardless of the value of auto-knee-gap. How 
can I write polyphonic voices, but control the beam direction in the 
second voice when necessary? And can I force a kneed beam if 
auto-knee-gap isn’t doing it?


What is the meaning of the value of auto-knee-gap, by the way? Is it 
staff spaces? What about when you change staffs? What if the two 
staffs are in the same clef and you jump from a note in the bottom 
staff to the same note in the upper clef?


Thanks for any information.



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Re: Cadenza in right hand, metered in left

[William Rehwinkel via LilyPond user discussion]

Dear Knute,

Substituting the following for the score context may result in more of 
what you are looking for.


\context {
  \Score
  \remove Timing_translator
  \override SpacingSpanner.strict-note-spacing = ##t
    }
% ...
}

However, it will probably not be ideal to have the entire score rendered 
in this way. I couldn't figure out how to enable strict note spacing for 
this cadenza and disable afterwards.


Thanks,
-William

On 8/2/23 20:34, Knute Snortum wrote:

Hello, LilyPonders.

I am engraving Chopin's "minute waltz" and I'm having trouble with the 
last few bars.  Chopin writes grace notes with no bar lines in the 
right hand but metered bars in the left.  I have gotten close to what 
I want, but the right-hand grace notes show spaces where the bar lines 
would be, and I want them to be completely smooth.


I've attached my source file and two PNGs, one with the source file's 
output and one that shows how I want it to look.  Any help would be 
very appreciated.


--
Knute Snortum



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How to display timesig.C22 on 4/2 instead of 2/2

[William Rehwinkel via LilyPond user discussion]

Dear list,

I am having trouble finding the source code which displays the glyphs 
timesig.C44 and C22 in place of 4/4 and 2/2 time signatures.


The reason is I would like to override this so that timesig.C22 displays 
on 4/2 time signature for early music which uses the /brevetactus/. I 
know this could be done with substituting a text-interface for the time 
signature stencil, but it would be nice if I could put this in my 
style-sheet and "set and forget" it.


Thank you,
-William

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Re: spacing

[William Rehwinkel via LilyPond user discussion]

Dear Lydia,

Sorry, I'm not sure what you want to do to change the spacing. If I add 
"ragged-right = ##t" inside the \paper block, we can see that the first 
system takes up much less horizontal space than the other systems when 
you ignore the stretching out to fill the whole line. What were you 
hoping to change here?


Thanks,
-William

On 7/5/23 18:11, Lydia Westerberg wrote:

I want the spacing of the text to be evenly spread out.
In the following example, the text in the first system is more spread 
out than in the second and third and fourth.

Thanks.
Lydia Westerberg


\version "2.18.2"

\paper {
top-margin = 15
  top-system-spacing #'basic-distance = #10
  score-system-spacing #'basic-distance = #12
  system-system-spacing #'basic-distance = #9
  last-bottom-spacing #'basic-distance = #10
Page-count = 1


}


global = {
  \key g \major
  \omit Staff.TimeSignature
}

#(set-global-staff-size 24)

sopMusic = \relative c'' {
  \set Timing.measureLength = #(ly:make-moment 7/4)
g4 g4 a4 b4  c4 c4 c4  \bar"|"
\set Timing.measureLength = #(ly:make-moment 2/4)
b4 b4\bar""
\set Timing.measureLength = #(ly:make-moment 8/4)
a2 a4 a4 g1 \bar""
\set Timing.measureLength = #(ly:make-moment 7/4)
g4 g4  a4 b4 c4  c4 b4 \bar""
\set Timing.measureLength = #(ly:make-moment 2/4)
b4 b4\bar""
\set Timing.measureLength = #(ly:make-moment 7/4)
b4 a2 a2 g2
\set Timing.measureLength = #(ly:make-moment 7/4)
g4 a4 b4  b4 c4 c4 b4 \bar""
\set Timing.measureLength = #(ly:make-moment 2/4)
b4 b4\bar""
\set Timing.measureLength = #(ly:make-moment 10/4)
a2 a2 a2 g1



   \bar "|."

}

sopWords = \lyricmode {
}

altoMusic = \relative c' {
\set Timing.measureLength = #(ly:make-moment 7/4)
 d4 d4 fis4 g4 g4  g4  g4
\set Timing.measureLength = #(ly:make-moment 2/4)
g4 g4
\set Timing.measureLength = #(ly:make-moment 8/4)
fis2 fis4 fis4 d1\bar"|"
\set Timing.measureLength = #(ly:make-moment 7/4)
d4 d4 fis4 g4 g4  g4 g4
\set Timing.measureLength = #(ly:make-moment 2/4)
g4 g4
\set Timing.measureLength = #(ly:make-moment 7/4)
g4 fis2 fis2 d2
\set Timing.measureLength = #(ly:make-moment 7/4)
d4 fis4 g4  g4  g4 g4  g4
\set Timing.measureLength = #(ly:make-moment 2/4)
g4 g4
\set Timing.measureLength = #(ly:make-moment 10/4)
fis2 fis2 fis2 d1

}

altoWords = \lyricmode {
\override LyricHyphen.minimum-distance = #.7
_The a -- pos -- tles' preaching and the
 \once \override LyricText.self-alignment-X = #LEFT 
fathers'__doctrines__have__established one

\once \override LyricText.self-alignment-X = #CENTER
_faith _for _the Church.
A -- dorned __with _the _robe _of __truth,
\once \override LyricText.self-alignment-X = #LEFT
woven__from heavenly
\once \override LyricText.self-alignment-X = #CENTER
__the -- ol -- o -- gy,
it __de -- fines __and __glo -- ri -- fies
\once \override LyricText.self-alignment-X = #LEFT
the__great__mystery of
\once \override LyricText.self-alignment-X = #CENTER
__Or -- tho -- dox -- y.

   }

tenorMusic = \relative c' {
\set Timing.measureLength = #(ly:make-moment 7/4)
 b4 b4 d4  d4 e4 e4 e4
\set Timing.measureLength = #(ly:make-moment 2/4)
d4 d4
\set Timing.measureLength = #(ly:make-moment 8/4)
c2  c4 c4 b1
\set Timing.measureLength = #(ly:make-moment 7/4)
b4 b4 d4  d4 e4  e4  d4
\set Timing.measureLength = #(ly:make-moment 2/4)
d4 d4
\set Timing.measureLength = #(ly:make-moment 7/4)
d4 c2 c2 b2
\set Timing.measureLength = #(ly:make-moment 7/4)
b4 d4  d4  d4  e4 e4 d4
\set Timing.measureLength = #(ly:make-moment 2/4)
d4 d4
\set Timing.measureLength = #(ly:make-moment 10/4)
c2 c2 c2 b1




  }
tenorWords = \lyricmode {
}

bassMusic = \relative c {
\set Timing.measureLength = #(ly:make-moment 7/4)
 g'4 g4  d4  g4 c,4  c4 e4
\set Timing.measureLength = #(ly:make-moment 2/4)
g4 g4
\set Timing.measureLength = #(ly:make-moment 8/4)
d2  d4 d4 g1
\set Timing.measureLength = #(ly:make-moment 7/4)
g4 g4  d4  g4  c,4  e4  g4
\set Timing.measureLength = #(ly:make-moment 2/4)
g4 g4
\set Timing.measureLength = #(ly:make-moment 7/4)
g4 d2 d2 g2
\set Timing.measureLength = #(ly:make-moment 7/4)
g4 d4 g4  g4 c,4 e4 g4
\set Timing.measureLength = #(ly:make-moment 2/4)
g4 g4
\set Timing.measureLength = #(ly:make-moment 10/4)
d2 d2 d2 g1



  }
bassWords = \lyricmode {
}

\markup {
  \column {
\fill-line\smaller { "7th Sunday after Pentecost"}
\vspace#1
\fill-line\normal-text\huge { "Fathers of the First Six Ecumenical 
Councils" }

    \vspace #.5
\fill-line\normal-text\huge { "Kontakion - Tone 8"}
\vspace #.5
\fill-line {
\line {""}
\line { \smaller  "Bakmetev: Modified LW"}
}
}
}


\score {

  \new ChoirStaff <<
    \new Lyrics = "sopranos" \with {
      % this is needed for lyrics above a staff
      \override VerticalAxisGroup.staff-affinity = #DOWN
    }
    \new Staff = "women" <<
      \new Voice = "sopranos" {
        \voiceOne
        << \global \sopMusic >>
      }
      \new Voice = "altos" {
        \voiceTwo
        << \global \altoMusic >>
      }
    >>
    \new Lyrics = "altos"
    \new Lyrics = "tenors" \with {
      % thi

Re: overriding digit-names

[William Rehwinkel via LilyPond user discussion]

Dear John,

You need to add another pound sign before the list. 
StrokeFinger.digit-names is a vector, with is a guile-specific construct 
not a standard list. This is entered by adding a pound sign, so 
confusingly we need the lilypond pound sign and the guile pound sign (of 
course this is actually expected, because the lilypond pound sign just 
tells the interpreter to read the following as a guile expression).


-William

% --

\version "2.25.4"


\relative c' {
  c8\rightHandFinger #1 d\rightHandFinger #2  e\rightHandFinger #3  
f\rightHandFinger #4  g\rightHandFinger #5

}
\layout {
  \context {
    \Voice
    \override StrokeFinger.digit-names = ##("p" "i" "m" "a" "n")

  }
}

% --

On 6/28/23 21:04, John Asmuth wrote:

Hi lilypond,

I'm trying to override StrokeFinger.digit-names like as follows:

\override StrokeFinger.digit-names = #("p" "i" "m" "a" "n")

but it gives me an error

error: Guile signaled an error for the expression beginning here

\override StrokeFinger.digit-names = #

("p" "i" "m" "a" "n")

Wrong type to apply: "p"


Anyone know how I can correctly do this override? Full document 
follows. I want to change the 'x' notation to an 'n'.


Thank you!
- John

\version "2.24.1"
\paper {
  ragged-last = ##t
}
strokeUp = \markup\combine\override #'(thickness . 1.3) \draw-line 
#'(0 . 2)\raise #2 \arrow-head #Y #UP ##f
strokeDown = \markup\combine\arrow-head #Y #DOWN ##f \override 
#'(thickness . 1.3) \draw-line #'(0 . 2)

RHu = \tweak staff-padding 5 \rightHandFinger \strokeUp
RHd = \tweak staff-padding 5 \rightHandFinger \strokeDown
RHp = \rightHandFinger #1
RHi = \rightHandFinger #2
RHm = \rightHandFinger #3
RHa = \rightHandFinger #4
RHn = \rightHandFinger #5
ras_strum =
#(define-music-function
     (chord)
     (ly:music?)
  #{
    \override Beam.positions = #'(4 . 4)
    \voiceOne
    #chord
    \override StrokeFinger.digit-names = #("p" "i" "m" "a" "n")
    %\hide NoteHead
    \improvisationOn
    \hide TabNoteHead
    \tuplet 3/2 { 16  16 16 }
    \override Beam.positions = #'(4 . 4)
    8
    8
    \override Beam.positions = #'(4 . 4)
    4
    \improvisationOff
  #})
notes={
  \time 3/4
  \ras_strum { 8 }
  |
}
\new StaffGroup <<
  <<
    \context Staff \with {
      \consists "Span_arpeggio_engraver"
      connectArpeggios = ##t
    } {
      \set strokeFingerOrientations = #'(up)
      \notes
    }
    \context TabStaff {
      \set Staff.stringTunings = \stringTuning 
      \notes
    }
  >>
>>


--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net  |
| PGP key:|
|https://ftp.williamrehwinkel.net/pubkey.txt  |
+ --- +



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Embed files other than source code in PDF file?

[William Rehwinkel via LilyPond user discussion]

Dear list,

I have been using the line

#(ly:set-option 'embed-source-code #t)

to embed the lilypond files I used in the PDF, but was wondering if 
there was a procedure I could call to embed some other file, such as a 
PDF of the source I used for the transcription? Sorry, looking through 
the docs I couldn't find anything on this. I know you could also do this 
with the finished pdf using Adobe Acrobat or something else, but would 
like to make this happen automatically.


Thanks,
-William

--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net  |
| PGP key:|
|https://ftp.williamrehwinkel.net/pubkey.txt  |
+ --- +



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Re: running on a MacBook

[William Rehwinkel via LilyPond user discussion]

Hello Donna,

macOS user here, what I do is download and unpack 
https://gitlab.com/lilypond/lilypond/-/releases/v2.24.1/downloads/lilypond-2.24.1-darwin-x86_64.tar.gz 
into my home directory at for example ~/lilypond-2.24.1/ , then symlink 
that directory to ~/lilypond/ , and add


export PATH="/Users//lilypond/bin:$PATH"

to the final line of ~/.profile

-William

On 5/26/23 16:47, Donna Gibbs wrote:

How do I use Lilypond on my macbook. We are having a lot of trouble making it 
work and my husband’s a programmer.

thanks
Donna


--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net  |
| PGP key:|
|https://ftp.williamrehwinkel.net/pubkey.txt  |
+ --- +



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Re: Fonts and Tempo

[William Rehwinkel via LilyPond user discussion]

My apologies for double-posting...after writing I looked some more and 
found that you can use *\char ##x* to enter unicode characters in a 
markup block as in here 
https://lilypond.org/doc/v2.25/Documentation/notation/unicode


On 5/20/23 23:24, William Rehwinkel via LilyPond user discussion wrote:

Dear Greg,

For the umlaut, as long as you enter the character with umlaut into 
the file, it should work. for Example, on vim I type -K, then 
colon (:), then "o", and it enters ö.


For the second question, I found 
https://lsr.di.unimi.it/LSR/Snippet?id=1008 (also attached to this 
email) but it unfortunately requires a lot of copy-pasting. If you add 
"\version "2.21.2"" and then run convert-ly it looks like it still 
works on 2.25.4.


For the third I hacked together the following, which you can tinker 
with to your liking


% --
\version "2.25.4"

\relative c' {
  c4 d e f | \mark \markup \smaller {\super\combine \draw-line #'(2 . 
0) \arrow-head #X #LEFT ##t \rhythm {2 } = \rhythm { 4 } 
\super\combine \draw-line #'(-2 . 0) \arrow-head #X #RIGHT ##t} g4

}
% --

Thanks,
-William

On 5/20/23 22:42, Greg Lindstrom wrote:

Good evening -

Let me start off by saying I'm loving working with lilypond to 
engrave music. Well Done!!


Questions. How can I do this (an umlaut over the o??)

image.png

And on tempo markings (the "ca." after the equal sign. I could do it 
as all text but wanted to know if there's a more "lilypond" way to do 
it).


image.png


And as long as I'm asking (and you're still reading). How about this 
(a half note = a quarter note. I'd be happy to do it without the 
arrows -- which I think borders on silly -- but I'll give extra credit):


image.png

Thanks for any help you can provide. I have the Lilypond 2.12 
Notation Reference so if you even point me to the section to 
reference I'll work it out.


Kind Regards,
--greg


--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net  |
| PGP key:|
|https://ftp.williamrehwinkel.net/pubkey.txt  |
+ --- +


--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net  |
| PGP key:|
|https://ftp.williamrehwinkel.net/pubkey.txt  |
+ --- +



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Re: Fonts and Tempo

[William Rehwinkel via LilyPond user discussion]

Dear Greg,

For the umlaut, as long as you enter the character with umlaut into the 
file, it should work. for Example, on vim I type -K, then colon 
(:), then "o", and it enters ö.


For the second question, I found 
https://lsr.di.unimi.it/LSR/Snippet?id=1008 (also attached to this 
email) but it unfortunately requires a lot of copy-pasting. If you add 
"\version "2.21.2"" and then run convert-ly it looks like it still works 
on 2.25.4.


For the third I hacked together the following, which you can tinker with 
to your liking


% --
\version "2.25.4"

\relative c' {
  c4 d e f | \mark \markup \smaller {\super\combine \draw-line #'(2 . 
0) \arrow-head #X #LEFT ##t \rhythm {2 } = \rhythm { 4 } \super\combine 
\draw-line #'(-2 . 0) \arrow-head #X #RIGHT ##t} g4

}
% --

Thanks,
-William

On 5/20/23 22:42, Greg Lindstrom wrote:

Good evening -

Let me start off by saying I'm loving working with lilypond to engrave 
music. Well Done!!


Questions. How can I do this (an umlaut over the o??)

image.png

And on tempo markings (the "ca." after the equal sign. I could do it 
as all text but wanted to know if there's a more "lilypond" way to do it).


image.png


And as long as I'm asking (and you're still reading). How about this 
(a half note = a quarter note. I'd be happy to do it without the 
arrows -- which I think borders on silly -- but I'll give extra credit):


image.png

Thanks for any help you can provide. I have the Lilypond 2.12 Notation 
Reference so if you even point me to the section to reference I'll 
work it out.


Kind Regards,
--greg


--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net  |
| PGP key:|
|https://ftp.williamrehwinkel.net/pubkey.txt  |
+ --- +

%%
%  Metronome markup formatter, with more options than the Lilypond
%  default formatter, and changes in sizing (see below).
%  Properties read:
%  - tempoEquationText:text to be put between note and tempo value(s)
%  Default: "="
%  - tempoBetweenText: text to be put between the tempo values. Used
%  only in ranges of tempo values.
%  Default: "-"
%  - tempoHideParenthesis: boolean. If true, the parenthesis are hide.
%  Default: false.
%  - tempoNumberColor: color. If set, the tempo value will be formatted
%  to this color.
%  Default: not set.
%  The size of the text ("Allegro" etc) is a bit larger than Lilypond default.
%  Similarly, the size of the note is smaller than Lilypond default.
%
%  To use this snippet, just \include this file. To revert default
%  Lilypond formatter inside the score:
%  \set Score.metronomeMarkFormatter = #format-metronome-markup
%
%  tested: Version "2.21.2"
%
%  This snippet is based on a snippet by Arnold Theresius. The original
%  snippet create a formatter called  "format-metronome-markup-approx",
%  and the default value to tempoEquationText in that snippet is "≈".
%  I changed back this default to Lilypond default, and added the
%  tempoBetweenText property.
%
%  Original header of the Theresius snippet:
%% http://lsr.di.unimi.it/LSR/Item?id=869

%by: ArnoldTheresius

%tested: Version "2.21.2"


% lilypond 2.14.x:
% Almost copied from .../scm/translation-functions.scm:
% --> added »-approx« to the function names of
% »format-metronome-markup« and »metronome-markup«
% --> replaced "=" with "≈" (approx. instead of equal)

#(define-public (format-metronome-markup-custom event context)
  (let ((eq-sym-def (ly:context-property context 'tempoEquationText))   
  ; added option
(bet-sym-def (ly:context-property context 'tempoBetweenText))   
  ; added option
(hide-paren (eq? #t (ly:context-property context 
'tempoHideParenthesis))) ; added option
(num-color (ly:context-property context 'tempoNumberColor #f))  
  ; added option
(hide-note (ly:context-property context 'tempoHideNote #f))
(text (ly:event-property event 'text))
(dur (ly:event-property event 'tempo-unit))
(count (ly:event-property event 'metronome-count)))

(metronome-markup-custom text dur count hide-note eq-sym-def bet-sym-def 
hide-paren num-color)))

#(define-public (metronome-markup-custom text dur count hide-note eq-sym-def 
bet-sym-def hide-paren col)
  (let* ((note-mark (if (and (not hide-note) (ly:duration? dur))
(make-teeny-markup; note 
smaller than Lilypond default
 (make-note-by-number-markup (ly:duration-log dur)
 (ly:duration-dot-count dur)
 1))
#f))

Re: Moving note in three-voice context

[William Rehwinkel via LilyPond user discussion]

Dear Jakob,

It must be a nice /piece d'orgue/ ;) (this has lost some of its comedic 
value as others have already answered)


I can think of two solutions to this problem.

1. You can override NoteHead.extra-spacing-width = #'(left . right). For 
example, #'(-4 . 0)


so:

% ---
leftOne = \relative c' {
  \global \voiceOne e4 d c h |
  a \change Staff = "right" \voiceTwo  \once \override 
NoteHead.extra-spacing-width = #'(-4 . 0 ) a' gis a | h2 e, |

}
% ---

2. Insert the following code in the layout block and remove the 
forst-hshift override:


% ---
    \context {
  \Voice
  \override VoiceFollower.springs-and-rods = 
#ly:spanner::set-spacing-rods

  \override VoiceFollower.after-line-breaking = ##t
  \override VoiceFollower.minimum-length = #5
  \override VoiceFollower.minimum-length-after-break = #4
    }
% ---

This allows you to set a minimum horizontal length for all 
VoiceFollower, and if the line would have a shorter horizontal distance, 
it will be lengthened (this is my personal choice, except I set the 
glissando properties this way and manually insert glissandos).


Thanks,
-Will

On 5/17/23 13:33, Jakob Pedersen wrote:

Greetings!

I'm attempting to move a note horizontally to fix a poorly placed 
voice-leading line.


Breitkopf fixes it by nudging the a following the staff change to the 
right, and I'd like to copy that.




A minimal example from my score:

\version "2.24.1"
\language "deutsch"

global = {
  \key g \major
  \time 4/4
  \showStaffSwitch
  \override VoiceFollower.style = #'dashed-line
}

rightOne = \relative c'' {
  \global \voiceOne h4 h a g | fis!2 f'~ | f4 f e d |
}

rightTwo = \relative c'' {
  \global \voiceTwo g4 f e2 | \voiceThree d2 d'~ | d h |
}

leftOne = \relative c' {
  \global \voiceOne e4 d c h |
  a \change Staff = "right" \voiceTwo \once \override 
NoteColumn.force-hshift = #3 a' gis a | h2 e, |


}

leftTwo = \relative c' {
  \global \voiceTwo e,2 a | d,2. c4 | h2 h' |
}

pedal = \relative c {
  \global c1~ | c4 c h a | gis2 gis' |
}

\score {
  <<
    \new PianoStaff <<
  \new Staff = "right" << \rightOne \\ \rightTwo >>
  \new Staff = "left" { \clef bass << \leftOne \\ \leftTwo >> }
    >>
    \new Staff = "pedal"
    << \clef bass \pedal >>
  >>
  \layout { ragged-first = ##f }
}

I've included a couple of extra bars because I wasn't sure if it was 
related to something in those.


\once \override NoteColumn.force-hshift = #3 doesn't seem to work.  (3 
was just an arbitrary number to see if it would move.) I can nudge the 
notes at the beginning of the bar to the left, except the force-hshift 
fails to work on the tied d in the bass line.


I'm sure there's a simple explanation, but I've been unable to figure 
it out so far.



Best wishes,

Jakob Pedersen


ps. There's a free imaginary balloon to anyone who recognises the piece.


--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net  |
| PGP key:|
|https://ftp.williamrehwinkel.net/pubkey.txt  |
+ --- +



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Re: Non-local page-break oddities

[William Rehwinkel via LilyPond user discussion]

Dear Joel,

I think that using multiple bookparts is a perfect strategy for this 
document based on this example, in which each score should nicely start 
on a new page.


Without any minimal examples, it is hard to determine what exactly is 
causing the bad page-breaking results, maybe you are using the 
optimal-page-turn algorithm for example.


In case you didn't know and it is any help, you can define header blocks 
inside bookparts, and override global header values or delete them by 
setting the value to ##f, like the following.


-William

% ---

\version "2.25.2"

\header {
  composer="this will appear in every bookpart"
}
\book {
  \bookpart {
\header {
  title= "this is the title"
}
\score {
  \relative c' c4
}
  }
  \bookpart {
\header {
  title = "this is the second title"
  composer=##f
}
\score {
  \relative g' g4
}
  }
}


On 4/24/23 23:33, Joel C. Salomon wrote:
I’m getting close to finished with my first Lilypond project, a book of 
some 30 scores.  I tried building the `\book` section piecemeal, 
including a handful of scores and tweaking the page breaks, and then 
another batch, and so on.


|\book {
   \scoreI
   \pageBreak
   \scoreII
   \pageBreak
   \scoreIII
   \pageBreak
   \scoreIV
   \scoreV
   \pageBreak
   …
   \pageBreak
   \scoreXXXI
   \scoreXXXII
   \pageBreak
   \scoreXXXIII
   \paper { min-systems-per-page = 2 }
   \scoreXXXIV
}|

The weird thing is, if I comment out all a few `\scoreX` statements, the 
page breaks fall where I want them.  But when I compile the whole book 
at once, some scores start to stretch across multiple pages in ugly ways.


I have tried tweaking with lines like

|\paper { max-systems-per-page = 8 min-systems-per-page = 5 }|

in strategic places, but that still fails when I add enough scores.

(It looks like perhaps using `\bookpart` around chunks of the book might 
help, but that re-prints the book header when I don’t want it to, and 
I’m not seeing how to suppress that.)


It’s hard to give a minimal example without publishing my whole project 
in public.


—Joel



--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net |
| PGP key:|
| https://ftp.williamrehwinkel.net/pubkey.txt |
+ --- +


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Re: How to control ties direction between chords

[William Rehwinkel via LilyPond user discussion]

Dear Vlad,

Inserting ^~ and _~ to the individual notes in the chord should work 
nicely, Like so.


Thanks,
-William

\version "2.25.2"

\relative {
  \clef treble
  \key c \major
  \time 4/4
  <<
\new Voice = voiceOne \relative {
  \voiceOne
  4 8
}
\new Voice = voiceTwo \relative {
  \voiceTwo
  \autoBeamOff r8 8 8
}
  >>
}


On 4/21/23 10:47, Volodymyr Prokopyuk wrote:

Hi,

How can I force the lower tie to be placed downward in the below code 
snippet? I've tried \once \tieDown but with no luck.


\version "2.25.3"

\relative {
   \clef treble
   \key c \major
   \time 4/4
   <<
     \new Voice = voiceOne \relative {
       \voiceOne
       4~ 8
     }
     \new Voice = voiceTwo \relative {
       \voiceTwo
       \autoBeamOff r8 8 8
     }
   >>
}

image.png


Thank you in advance for your support,
Vlad


--
+ --- +
|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net |
| PGP key:|
| https://ftp.williamrehwinkel.net/pubkey.txt |
+ --- +


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Question about bracketifying rests

[William Rehwinkel via LilyPond user discussion]

Dear list,

I use the following stencil (which is derived the bracketify-stencil 
procedure from lilypond) to draw editorial brackets around rests.


The output looks very nice and more preferable for my use than using 
\parenthesize (mainly because it changes in size for quarter note 
rests). However, I would like to ask if it is possible to modify the 
\override command to have the brackets account for the dots after the 
rest? Perhaps a higher level stencil that draws the Rest and dots?


Unfortunately I had trouble finding the source code which handles 
\parenthesize in the lilypond repository, which probably could have 
helped me.


Thank you,
-William

%%
\version "2.25.2"

#(define (wills-bracketify-stencil stil axis thick protrusion vpadding 
hpadding)

  (let* ((ext (ly:stencil-extent stil axis))
 (lb (ly:bracket axis (cons (- (car ext) hpadding) (+ (cdr ext) 
hpadding)) thick protrusion))
 (rb (ly:bracket axis (cons (- (car ext) hpadding) (+ (cdr ext) 
hpadding)) thick (- protrusion

(set! stil
  (ly:stencil-combine-at-edge stil (other-axis axis) 1 rb 
vpadding))

(set! stil
  (ly:stencil-combine-at-edge stil (other-axis axis) -1 lb 
vpadding))

stil))

\relative a {
  \override Rest.stencil = #(lambda (grob) (wills-bracketify-stencil 
(ly:rest::print grob) Y 0.15 0.5 0.2 0.6))

  r1
  r2. r4
  a1\rest
}
%%


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|   William Rehwinkel - Oberlin College and   |
|  Conservatory '24   |
|will...@williamrehwinkel.net |
| PGP key:|
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Re: /usr/local/lilypond/usr/bin/lilypond: not found

[William Rehwinkel via LilyPond user discussion]

Dear JD,

I'm not sure I can help much but will just write two things that come to 
mind.


Did you double check that the path /usr/local/lilypond/usr/bin/lilypond 
exists, and is not just a slightly different path? When I install 
lilypond from 
https://gitlab.com/lilypond/lilypond/-/releases/v2.24.1/downloads/lilypond-2.24.1-darwin-x86_64.tar.gz 
the binary is usually found at /path/to/lilypond-x.x.x/bin/lilypond, not 
/<..>/lilypond/usr/bin/lilypond. Something doesn't seem right about the 
path to lilypond and python3, as if it is supposed to be 
/usr/bin/{lilypond,python3} without /usr/local/lilypond appended to it. 
But again I haven't tried installing in this way.


My other guess is it is a sort of permissions error, like that directory 
or file is owned by a different user.


Other than that, hopefully someone else will be of better help.

-Will

On 4/11/23 20:04, JD Margulici wrote:
Hello, I am running the following commands to install Lilypond on Alpine 
Linux:


wget https://lilypond.org/download/binaries/linux-64/$LILYPOND_INSTALLER 


sh $LILYPOND_INSTALLER

with LILYPOND_INSTALLER set to lilypond-2.23.6-1.linux-64.sh 



The installation proceeds without glitches. However when I try to run 
Lilypond I get the following error message, which in spite of its 
apparent simplicity is rather cryptic since the file that is not found 
actually exists:


/usr/local/bin/lilypond: exec: line 4: 
/usr/local/lilypond/usr/bin/lilypond: not found


Similar error with lilypond-book:

/usr/local/bin/lilypond-book: exec: line 6: 
/usr/local/lilypond/usr/bin/python3: not found


I found a 15-year old post that reports the same error, but the 
resolution was not clear: 
https://lists.gnu.org/archive/html/lilypond-user/2009-01/msg00725.html 



Thank you for your help!

JD


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|will...@williamrehwinkel.net |
| PGP key:|
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Re: spacing of invisible rests

[William Rehwinkel via LilyPond user discussion]

Dear Jaime,

Try using `\once \hideNotes r` and before that include

\once \override Rest.extra-spacing-width = #'(0 . 50)

Or another value, depending on how much space. As in the following example.

I'm having trouble figuring out exactly what you are looking for, could 
you hook up a minimum example of one such instance without the spacing, 
and describe how you would like space to be added?

-Will

\version "2.24.1"

{
  \once \override Rest.extra-spacing-width = #'(0 . 50)
  \once \hideNotes r1
}


On 3/24/23 18:31, Jaime Oliver wrote:

Hi William,

Indeed what I am after is a s4 that takes some space, I am currently 
solving it with


things like:

\once \hide Rest  r16 \once \hide Rest r16
\once \hide Rest  r16 \once \hide Rest r16

which will take some more space, but it is not ideal.

best,

Jaime

On Fri, Mar 24, 2023 at 6:03 PM William Rehwinkel 
mailto:will...@williamrehwinkel.net>> wrote:


Dear Jaime,

If you mean silent rests such as s4, s8 etc. I thought those do not
actually take up any space, and are analogous to using \skip for that
duration. As in the following example:

\version "2.24.1"

<<
    \new Staff {
      c'1 c'1
    }
    \new Staff {
      \repeat unfold 128 { s128 }
    }
  >>

As for how to make measures longer, I usually override the
NoteHead.extra-spacing-width (or same, for Rest) property to add more
horizontal space before or after a note, but I'm not sure that will be
the best option here.

-William

On 3/24/23 17:56, Jaime Oliver wrote:
 > Hi all,
 >
 > I am trying to control the amount of space that s events take on
each
 > bar so that I can make some bars longer. Is there a way I can
specify
 > this? Also, some bars which have values like R1 are also really
short,
 > how can I make those longer?
 >
 > In other words, is there a way to make bars visually longer even
if they
 > show empty space?
 >
 > I have tried things like the one below but have not had good results
 > \layout{
 >     \context {
 >          \Score
 >                    proportionalNotationDuration =
#(ly:make-moment 1/32)
 >                    \override SpacingSpanner.base-shortest-duration =
 > #(ly:make-moment 1/32)
 >                    \override SpacingSpanner.uniform-stretching = ##t
 >
 > I am also attaching a screenshot so you can see the kinds of
results I
 > am getting.
 >
 > All the best,
 >
 > Jaime
 >
 > image.png
 >

-- 
+ -- +

|    William Rehwinkel - Oberlin College and     |
|                           Conservatory '24     |
| will...@williamrehwinkel.net
          |
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 |
+ -- +



--
**
Jaime E Oliver LR
www.jaimeoliver.pe 



--
+ -- +
|William Rehwinkel - Oberlin College and |
|   Conservatory '24 |
|  will...@williamrehwinkel.net  |
| PGP key:   |
| https://williamrehwinkel.net/static/pubkey.txt |
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Re: spacing of invisible rests

[William Rehwinkel via LilyPond user discussion]

Dear Jaime,

If you mean silent rests such as s4, s8 etc. I thought those do not 
actually take up any space, and are analogous to using \skip for that 
duration. As in the following example:


\version "2.24.1"

<<
  \new Staff {
c'1 c'1
  }
  \new Staff {
\repeat unfold 128 { s128 }
  }
>>

As for how to make measures longer, I usually override the 
NoteHead.extra-spacing-width (or same, for Rest) property to add more 
horizontal space before or after a note, but I'm not sure that will be 
the best option here.


-William

On 3/24/23 17:56, Jaime Oliver wrote:

Hi all,

I am trying to control the amount of space that s events take on each 
bar so that I can make some bars longer. Is there a way I can specify 
this? Also, some bars which have values like R1 are also really short, 
how can I make those longer?


In other words, is there a way to make bars visually longer even if they 
show empty space?


I have tried things like the one below but have not had good results
\layout{
    \context {
         \Score
                   proportionalNotationDuration = #(ly:make-moment 1/32)
                   \override SpacingSpanner.base-shortest-duration = 
#(ly:make-moment 1/32)

                   \override SpacingSpanner.uniform-stretching = ##t

I am also attaching a screenshot so you can see the kinds of results I 
am getting.


All the best,

Jaime

image.png



--
+ -- +
|William Rehwinkel - Oberlin College and |
|   Conservatory '24 |
|  will...@williamrehwinkel.net  |
| PGP key:   |
| https://williamrehwinkel.net/static/pubkey.txt |
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Re: how to install in Linux

[William Rehwinkel via LilyPond user discussion]

Dear Dario,

Personally, I think adding the `lilypond-2.24.1/bin` directory to $PATH 
is the best way to handle this, whether you placed lilypond-2.24.1 in 
the user's home directory or somewhere else.


-William

On 3/24/23 17:41, Dario Marrini wrote:

Hi lilypond people,
I'm using a LinuxMint 21.1 Linux OS distribution, it provides 2.22 
Lilypond version, but in website I see there is 2.24 as last stable 
version; I've downloaded it, no installer is provided, how could I 
integrate the software in my system? is there a script or something else 
that could automate the process, or must I link every executable in 
/usr/bin or elsewhere, in any location 'touched' by my $PATH ?


regards

dario m.


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|  will...@williamrehwinkel.net  |
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Re: cross-staff stems

[William Rehwinkel via LilyPond user discussion]

Dear all,

Something like the following example might be helpful to include in the 
documentation, as it explains which of the staves \crossStaff should be 
applied to.


-Will

% --
\version "2.24.1"

\new PianoStaff <<
  \new Staff = "right" {
\voiceTwo \crossStaff { c''4^"\crossStaff" 4 4 4 } 4 4 4 4
\voiceOne \crossStaff { c''4_"\crossStaff" 4 4 4 } 4 4 4 4
  }
  \new Staff = "left" {
\clef bass
\voiceTwo c4 4 4 4 \crossStaff { 4^"\crossStaff" 4 4 4 }
\voiceOne c4 4 4 4 \crossStaff { 4_"\crossStaff" 4 4 4 }
  }
>>

\layout {
  \context {
\PianoStaff
\consists #Span_stem_engraver
  }
}
% --

On 3/23/23 11:36, Werner LEMBERG wrote:



Can you please suggest a better wording that I can add to the
documentation?


May I have the day to ruminate?


Please take your time, and thanks for working on this!


 Werner


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|  will...@williamrehwinkel.net  |
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Re: cross-staff stems

[William Rehwinkel via LilyPond user discussion]

Dear Mark,

I found that the error was applying "\crossStaff" to the lower notes 
instead of the higher ones, applying them to the upper notes (whos stems 
will extend further below the stem) seems to have fixed the issue.


Thanks,
-William

On 3/22/23 20:24, Mark Stephen Mrotek wrote:

Jean,

Attached is a MWE

Want stem to connect c and a, also c an g.

Thank you for your kind attention.

Mark

*From:*Jean Abou Samra [mailto:j...@abou-samra.fr]
*Sent:* Wednesday, March 22, 2023 4:41 PM
*To:* Mark Stephen Mrotek ; 'lilypond-user' 


*Subject:* Re: cross-staff stems

Le mercredi 22 mars 2023 à 14:28 -0700, Mark Stephen Mrotek a écrit :

Hello!

My piano score has four voices each coded as a variable.
At a single place I want a cross stem between the tenor and alto voice.
The directions at

https://lilypond.org/doc/v2.16/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems
 

were followed  yet the stems were not created.

The snippet for the above directions does not use variables yet
imbeds the notation within the \PianoStaff.
Does imply that cross-staff stem is available only in that format?

Thank you for your kind attention,

First, the documentation page you link to is for LilyPond 2.16, which is 
an ooold version (more than 10 years old). Google search results can be 
problematic in that regard; it often works to replace the version number 
with your version number in the URL, in this case replacing 2.16 with 
2.24, the current stable version. That said, this snippet does still 
work in 2.24 unchanged.


Do you have an example allowing to reproduce your problem? (No, whether 
you structure your input with variables won't make a difference.)




--
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|   Conservatory '24 |
|  will...@williamrehwinkel.net  |
| PGP key:   |
| https://williamrehwinkel.net/static/pubkey.txt |
+ -- +
\version "2.24.0"

ArightOne = \relative c'' {
  f4 (e8) s8 
}

ArightTwo = \relative c'' {
  \crossStaff {
  a4 g16
}
}

AleftOne = \relative c' {
  s4.
}

AleftTwo = \relative c' {
   {
  c4~ c16}
}

\score {
  \new PianoStaff
  <<
\new Staff = "right" << \ArightOne \\ \ArightTwo >>
\new Staff = "left" { \clef bass << \AleftOne \\ \AleftTwo >> }
>>
  \layout {
indent = 0
\context {
\PianoStaff
\consists #Span_stem_engraver
  }
  }
  }


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Re: Positioning lyrics properly with beaming?

[William Rehwinkel via LilyPond user discussion]

Hey Kevin,

I found that the command to disable all logic for finding melismas 
(manual beams when \autoBeamOff, slurs, etc.) is *melismaBusyProperties 
= #'()* . Refer to the attached example which sets it in a \context 
block. In the *words* macro I entered the lyrics in a few different 
ways, depending on which way you would most prefer.


I found it on this page: 
https://lilypond.org/doc/v2.21/Documentation/notation/common-notation-for-vocal-music 
(ctrl-f melismaBusyProperties)


Let me know if this is what you intended or if I am missing something.

-William

On 7/21/22 13:37, Kevin Cole wrote:

Hi,

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

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

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

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

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

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

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


--
William Rehwinkel

will...@williamrehwinkel.net
https://williamrehwinkel.net
\version "2.22.1"
\language "english"

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

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

words = \lyricmode {
  Ohhh, __ _  The   | %  1
  %Ohhh, _  The   | %  1
  %Ohhh -- hhh,  The   | %  1
}

\score {
  <<
\new Voice = "mel" { \melody }
\new Lyrics \lyricsto mel \words
  >>
  \layout { 
  \context {
\Voice
\autoBeamOff 
melismaBusyProperties = #'()
  }
  }
}