Re: Mac OSX 10.10 (Yosemite) and LilyPond compatibility?

[Xavier Noria]

The cmake port needs Xcode 6.1 which still has not hit the App Store.

Meanwhile it can be dowloaded from the Apple developer center if you have
an account.
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generating small snippets

[Xavier Noria]

Hi!

I am taking notes of music classes in Markdown. Those notes go through a
static web site generator (pandoc), and they use LilyPond textual syntax in
code blocks for music notation for simple snippets (think scales, chords,
arpeggios, etc.)

That works fine, but if there was a way to get minimal output from LilyPond
with just the music I would be able to write a preprocessor that replaced
the code with a image of the staff (only for display mode, not inline).

Is there a built-in way to generate small snippets as images?
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generating a few isolated notes

[Xavier Noria]

I would like to generate this swing equality

 https://musescore.org/sites/musescore.org/files/swing_0.jpg

to have it printed in a t-shirt.

I am trying something like this (cargo culting online code) but
can't get spacing around  the equal sign right. I have read the
documentation about horizontal spacing but all seems to
assume the markup shouldn't affect distance between notes.

Can anybody help?


\version "2.18.2"

\layout {
  pagenumber = no
  #(layout-set-staff-size 26)

  \context {
\Staff
\remove "Time_signature_engraver"
\remove "Clef_engraver"
\remove "Bar_engraver"
  }
}

\header {
  tagline = ""
}

melody = \relative c''' {
  \override TextScript.extra-offset = #'(2 . 2)
  \stopStaff a,8 a8-\markup { \whiteout \pad-markup #0.5 "=" } \times 2/3 { a4 
a8 }
}

\score {
  { \melody }
}



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Re: generating a few isolated notes

[Xavier Noria]

Right now the horizontal spacing is not right, it looks like this

https://www.dropbox.com/s/539b8y69rivb9cu/Screenshot%202016-03-
04%2013.12.52.png?dl=0


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Re: looking for a style guide

[Xavier Noria]

Awesome, thanks!

On Mon, Dec 17, 2012 at 5:35 AM, Shane Brandes  wrote:
> Xavier,
>
>  Meter and rhythm will determine the beaming and breaking of beams in
> a piece. The primary governor of beaming is of course the time
> signature. So 4/4 determines at the 8th note level 4 groupings of 8ths
> (two at a time). Cut-time looks like 4/4 but will break the 8ths in
> two groups of 4s. You appear to have a mixed meter thing going on in
> your example which might make one think of the first half of your
> measure is working in 1/2 time and the second half in 2/4 time so the
> pulse is sightly upset from a simple 4/4 if that is the intent (having
> a strong beat on the 1st eighth and two slightly stronger beats on the
> 5th and 7th eighths) then I would be prone to writing the last measure
> as half note quarter rest eighth rest eighth rest. In any event, you
> can re-beam note groupings at your discretion to indicate and
> emphasize whatever rhythmic pulse suits the piece and it is not
> necessary to stick with one thing. This occurs often enough in music
> such that any competent reader will understand without having to be
> supplied some ugly compound time signature such as 1/2 2/4 every other
> measure, unless it is something truly unusual like 2/3 5/4 2/4 time.
> I hope that helps your thinking about how to get the necessary
> information to the performer.
>
> regards,
>
> Shane Brandes
>
> On Sun, Dec 16, 2012 at 5:47 PM, Xavier Noria  wrote:
>> Is there any style guide for scores online? For example, I don't know
>> if I should break the groups of four eight notes in the sample in
>> pairs... would like to get the picture about these basic things.
>>
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Re: Accidental placement

[Xavier Noria]

On 13 Jan 2013, at 18:32, Noeck  wrote:

> * On this website: http://pian-e-forte.de/texte/index.htm
> 
> The article describes good practices of music engraving and I compared
> the rules mentioned there with the LilyPond output. Most of the rules
> are covered by LilyPond automatically. I could send a summary of the
> rules, a LilyPond user still has to care about, if anyone is interested.

I would appreciate it, cannot read German.

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how to define a command alias

[Xavier Noria]

I have a score with about 50 \acciaccaturas that take too much space
in the source code compared to the surrounding music. Is there a way
to define an alias to be able to use a shorter name?

Please do not hesitate to point me to the documentation if it is
covered somewhere.

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two staffs in one page

[Xavier Noria]

I am writing a jazz solo and would like to have in addition to the main
staff a couple of lines with the chords listed with their notes displayed.

Right now I have this variable defined

chordslist = \chordmode {
  c1:7 cs1:7 d1:m7 d1:7 d1:aug7 d1:11 d1:13 ef1:13 e1:7 e1:aug7 f1:7 g1:7
g1:aug7 a1:m7 a1:7 a1:9 b1:m7 b1:7
}

and have the reference in a separate page:

\bookpart {
  \header {
subtitle = "(Chords)"
  }

  <<
\new ChordNames {
  \chordslist
}

\new Staff {
  \chordslist
}
  >>
}

But what I'd really like is to have that reference at the top of the page
with the solo, without bar numbers, without key, and then the solo would
follow starting on its own line, in its key, and with barnumber starting at
1 as default visibility settings.

This is going to fit in one page and would be more handy.

Does anybody know if that is possible?
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Re: two staffs in one page

[Xavier Noria]

On Sun, May 12, 2013 at 7:58 AM, Nathan  wrote:

 I'm not sure if I follow your question. Do you have an image or something
> that demonstrates what you want?
>


Yep, see the attachment. I put the chords at the top for reference, and
then the solo follows. The final source code is:


https://github.com/fxn/scores/blob/master/bob-mintzer/blues-1-easy-solo.ly

Xavier
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Re: LilyPond Video Tutorials (Beginner)

[Xavier Noria]

Awesome! Thanks very much for working on this.
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Re: [ANNOUNCE] Scale Matcher website built with LilyPond

[Xavier Noria]

Very happy to see the website runs on Ruby on Rails![*] (Core team member
over here.)

[*] http://scalematcher.adamspiers.org/info/faq
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why is there no \bendBefore?

[Xavier Noria]

I am transcribing some saxophone jazz themes, and revising them my teacher
drew by hand in my score what you would call \bendBefore.

That notation seems natural to me, because the saxophonist is not doing an
appoggiatura or anything like that, he attacks the measure by bending the
first note upwards.

I have seen a few snippets online searching for \bendBefore, but I
wonder... why it is not builtin? Is there a reason or is just that nobody
wrote it?

Xavier

PS: I have seen a few solutions to this, do you guys prefer any in
particular?
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example LilyJAZZ before/after

[Xavier Noria]

Hi, just wanted to share these measures before/after LilyJAZZ.

Beautiful!
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Re: example LilyJAZZ before/after

[Xavier Noria]

On Fri, Oct 4, 2013 at 6:21 PM, Johan Vromans  wrote:

Xavier Noria  writes:
>
> > And now that I created expectation by means of my faulty synapses... here
> > they are :D.
>
> Looks great!
> Is there a writeup somewhere how to achieve this?


This was my starting point, it worked out of the box except for fonts:

http://lilypondblog.org/2013/09/lilypond-and-lilyjazz/

I have a Mac, and here installing the .otf files in Font Book didn't work,
I had to copy them to


/Applications/LilyPond.app//Contents/Resources/share/lilypond/current/fonts/otf/

The zip file has an example. The score corresponding to the capture is

https://github.com/fxn/scores/blob/master/lou-donaldson/dorothy.ly

(work in progress).
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first-time user, a couple of questions

[Xavier Noria]

Hi! This is the first time I use LilyPond, thanks for the software and
the documentation, they are really good!

I have transcribed a song by Stevie Wonder:

https://github.com/fxn/scores/blob/master/stevie-wonder/you-and-i.ly

and have a couple of questions I have not been able to figure out searching:

1. As you see, in the source code I have everything organized by
measure. Is there a way to add lyrics by measure instead of in a
separate chunk? The score would be easier to write and follow if I
could mix them.

2. Whole notes and rests are kind of flushed to the left. It's been
many years since I did music but if I am not mistaken it was customary
to have them centered... is there a way to center them?

Thanks!

Xavier

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Re: first-time user, a couple of questions

[Xavier Noria]

On Tue, Nov 27, 2012 at 11:07 AM, David Kastrup  wrote:

> Xavier Noria  writes:
>
>> Hi! This is the first time I use LilyPond, thanks for the software and
>> the documentation, they are really good!
>>
>> I have transcribed a song by Stevie Wonder:
>>
>> https://github.com/fxn/scores/blob/master/stevie-wonder/you-and-i.ly
>
> Here likely the Github usage conditions apply:
>
> A8: You may not use the Service for any illegal or unauthorized
> purpose. You must not, in the use of the Service, violate any laws
> in your jurisdiction (including but not limited to copyright or
> trademark laws).
>
> Without an authorization by Stevie Wonder, publishing a version of his
> work on GitHub is not allowed in most countries of the world, so you
> should likely make this part of your repository private.
>
> For the purpose of discussing LilyPond examples, try using random notes
> or non-copyrighted material (18th century or so).  That will mean
> additional work for adapting your examples and incorporating the
> replies, but that are the conditions one has to work under these times.

Thanks for the warning David, I was not aware of that publishing a
score was violating anything.

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how to reuse common header attributes

[Xavier Noria]

Hi,

I am getting familiar with the docs, but can't yet figure this out by myself.

I am transcribing a song in C, and would like the same document to
include its transposition in E flat. The file structure I have come
with so far is:

\version "2.16.1"

\include "english.ly"

melody = \relative c'' { ... }
\addlyrics { ... }

\bookpart {
  \header {
title= "title"
subtitle = "(Transcription in C)"
composer = "composer"
tagline  = "tagline"
  }

  \score {
{ \melody }
  }
}

\bookpart {
  \header {
title= "title"
subtitle = "(Transcription in E flat)"
composer = "composer"
tagline  = "tagline"
  }

  \score {
{ \transpose ds c \melody } % "ds" because "ef" yields a weird key
  }
}

As you see some data repetition remains in the headers (title,
composer, and tagline, subtitle differs).

Questions:

1) The structure and variable usage are idiomatic?

2) Is there a clean way to factor those common header attributes out somehow?

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Re: how to reuse common header attributes

[Xavier Noria]

On Sun, Dec 9, 2012 at 9:46 PM, Noeck  wrote:

>> { \transpose ds c \melody } % "ds" because "ef" yields a weird key
>
> Thomas already posted the correct transposition, but just to emphasize:
> If I understand what you want to do, the arguments of \transpose must be
> inverted. You want to transpose from c to e flat:
>  \transpose c ef \melody
>
> The order in your snippet transposes from d sharp to c, i.e. a melody in
> \key c \major is transposed to b double flat or a major.

Maybe I am using the jargon in a wrong way?

The first score, in C, is the one you'd play in a piano. Now, I want
to transpose for the alto saxophone. An E flat in the original score
has to become a C in the transposed second score (and I know the
resulting score is correct because I have played it).

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Re: how to reuse common header attributes

[Xavier Noria]

Ah, maybe the comment about the weird key made you think I got the
arguments the other way around. Let me explain that.

The original song is in F sharp ("You And I", Stevie Wonder). The command

\transpose ef c

generates a key with sharps and double sharps (see image). On the other hand

\transpose ds c

yields a more normal E flat.
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Re: how to reuse common header attributes

[Xavier Noria]

On Sun, Dec 9, 2012 at 10:47 PM, Noeck  wrote:

> Ok, I see, I misunderstood. I have never played transposing instruments,
> so I can't tell what the right wording is, but it sounds reasonable.
> I only used transpose for "real" transposition (e.g. to make it easier
> for singers) where the both the notation and the "sound" is changed.

Ahhh, I understand thanks anyway.


> Btw: The manual suggests to use \transposition a in such a case in
> addition (Am I right?) to the \transpose command:
> http://www.lilypond.org/doc/v2.16/Documentation/notation/displaying-pitches#instrument-transpositions

In principle it does not work. I store one melody in concert pitch in
a variable, and then reuse that variable for the original and
transposed scores. But the docs of \transposition say " \transposition
should only be used if the pitches are not being entered in concert
pitch.", so apparently it is not intended for my use case.

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Re: how to reuse common header attributes

[Xavier Noria]

Awesome reply, thanks very much Keith.


On 10 Dec 2012, at 00:13, Keith OHara  wrote:

> Xavier Noria  hashref.com> writes:
> 
>> I am transcribing a song in C, and would like the same document to
>> include its transposition in E flat.
> [...]
>> 1) The structure and variable usage are idiomatic?
> I think so, mostly. Maybe put an extra set of {} around \addlyrics,
> just in case you forget how \addlyrics works (like I often do).
> 
>> 2) Is there a clean way to factor those common header attributes out somehow?
> You can put a \header{} at the beginning, see below, and those items are 
> repeated for each book part.  (But if someday you *don't* want the title 
> repeated, you need  \paper { bookTitleMarkup = "" } in each \bookpart after 
> the first.)
> 
>> I store one melody in concert pitch in
>> a variable, and then reuse that variable for the original and
>> transposed scores. But the docs of \transposition say " \transposition
>> should only be used if the pitches are not being entered in concert
>> pitch.", so apparently it is not intended for my use case.
> 
> "\transposition bes" would tell LilyPond: "in the following music, what 
> is written as concert C sounds as concert B-flat."  LilyPond uses the 
> distinction between written and sounding pitches for midi, and for writing 
> "cue notes" when one instrument listens for cues from another.
> 
> In your case, you *could* tell LilyPond the truth by writing
> "\transposition c" but that will probably not help anything in your score.
> (It would make midi pitches come out in concert pitch, even if you
> use "\transpose es, c \melody" in the score with midi output.)
> 
> \version "2.16.1"
> \include "english.ly"
> melody = {
>  \relative c' {
>  \transposition c % probably not needed
>  \key fs\major fs gs as b }
>  \addlyrics { do re mi fa } 
> }
> \header {
>  title= "title"
>  composer = "composer"
>  tagline  = "tagline"
> }
> \bookpart {
>  \header {
>subtitle = "Score in C"
>  }
>  \score {
>\melody
>  }
> }
> \bookpart {
>  \header {
>subtitle = \markup { "Part for" \concat{"E"\flat} "saxaphone"}
>  }
>  \score { % enharmonic transposition, due to the key of f-sharp
>\transpose ds, c \melody
>  }
> }
> 
> 
> 
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Re: how to reuse common header attributes

[Xavier Noria]

On Mon, Dec 10, 2012 at 12:13 AM, Keith OHara  wrote:

> I think so, mostly. Maybe put an extra set of {} around \addlyrics,
> just in case you forget how \addlyrics works (like I often do).

I have checked the docs for lyrics in


http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Entering-lyrics#Lyrics-explained

and don't quite understand that remark. Guess it has to do with
variable assignment?

Indeed, maybe related, when you do a \relative and right after it an
\addlyrics in the top-level as in many examples I don't know to
"which" entity is \addlyrics attaching the lyrics to, is there some
implicit object being built?


> subtitle = \markup { "Part for" \concat{"E"\flat} "saxaphone"}
>   }

That would be a nice touch. The flat looks weird over here though (see
attachment), is there an alternate markup I could use?
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looking for a style guide

[Xavier Noria]

Is there any style guide for scores online? For example, I don't know
if I should break the groups of four eight notes in the sample in
pairs... would like to get the picture about these basic things.
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Half-diminished seventh chord

[Xavier Noria]

Is there a way to get the "crossed-o" notation for a half-diminished
seventh chord (m7♭5)? I don't see it in
http://lilypond.org/doc/v2.16/Documentation/notation/displaying-chords.
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Re: Half-diminished seventh chord

[Xavier Noria]

Awesome!


On Thu, Oct 17, 2013 at 1:12 PM, pls  wrote:

>
> On 17.10.2013, at 13:04, Xavier Noria  wrote:
>
> Is there a way to get the "crossed-o" notation for a half-diminished
> seventh chord (m7♭5)? I don't see it in
> http://lilypond.org/doc/v2.16/Documentation/notation/displaying-chords.
>
>
> \chords {
>   c:1.3-.5-.7
>   c:m7.5-
> }
>
> hth
> patrick
>
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>
>
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notation for double-time?

[Xavier Noria]

Not specific to Lilypond but hope you don't mind the question, I have
looked for this in online music notation glossaries without success.

I am transcribing a jazz ballad, and I am told the player thinks the solo
in double-time and I should reflect that switching to 8ths rather than
16ths.

Is there a notation to mark you need to read the score that way from some
bar on? and then back to normal tempo at some later bar? (I am transcribing
the score of one single player, no need to sync with other instruments.)
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3x repeats

[Xavier Noria]

Is this idiomatic notation for repeating those two bars three times?
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Re: 3x repeats

[Xavier Noria]

On Sun, Dec 22, 2013 at 9:08 AM, Nathan  wrote:

On Sat, Dec 21, 2013 at 6:25 PM, Xavier Noria  wrote:
> > Is this idiomatic notation for repeating those two bars three times?
>
> It'd be better with the text at the beginning or end of the passage.
> My personal favorite, however, is putting the measures in a large
> horizontal bracket labeled "3x."
>

Do you have example code for that?

It is interesting that if the passage had alternative endings the repeats,
3x, 4x, or whatever would be easily represented, but I do not see notation
for expressing plain 3x, 4x, repeats with bars. There has to be a
convention I believe.
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Re: 3x repeats

[Xavier Noria]

On Sun, Dec 22, 2013 at 12:36 PM, Phil Holmes  wrote:

 The only guidance in Gould is where she writes "Repeat 3 times" in a
> horizontal bracket.
>

How do you produce that? I have looked at the documentation but didn't
figure it out.
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Re: 3x repeats

[Xavier Noria]

On Mon, Dec 23, 2013 at 5:48 PM, Phil Holmes  wrote:

 I've no idea - I'm just quoting what Elaine Gould says...
>

Ah, OK :)

By now I am putting a "3x" mark above the repeat (if I put the mark at the
beginning it is printed above the clef rather than at the beginning of the
bar).
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Re: 3x repeats

[Xavier Noria]

Looks awesome!
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Re: notation for double-time?

[Xavier Noria]

For the archives: my teacher (professional jazz player) told me that you
just put "double-time feel", or "half time feel".
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Re: 3x repeats

[Xavier Noria]

On Mon, Dec 23, 2013 at 6:53 PM, Urs Liska  wrote:

Am 22.12.2013 05:54, schrieb Alex Loomis:
>
>  In many contexts it's preferable to write it out instead of using percent
>> repeats. If it's a long passage then it's frequently written pretty much
>> like you had it except with the x3 at the repeat sign.
>>
>>
> I'd second this.
> But from numerous experiences (from the performer's POV) I can tell you
> that you somehow have to make clear if you want the passage to be _played_
> or _repeated_ three times. This is usually unclear and leads to useless
> discussions in an ensemble unless the composer has explicitly stated his
> intention (which probably has to be written out in a sentence).


Interesting, what is the difference?
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Re: ANN: Frescobaldi 2.0.12

[Xavier Noria]

The port in MacPorts has not been updated right?
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Re: ANN: Frescobaldi 2.0.12

[Xavier Noria]

On Sat, Dec 28, 2013 at 2:31 PM, Wilbert Berendsen  wrote:

That could take a little time. I only maintain the source release and the
> Windows installer.
>

Awesome thank you.

And thanks a lot for the release :).
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Re: frescobaldi macports broken after update

[Xavier Noria]

Just confirming that installing from a fresh MacPorts works perfectly.
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\bendBefore

[Xavier Noria]

A web search shows \bendBefore is not implemented. I have tried some
snippets found out there but failed to get the bends (using LilyJAZZ if
that matters).

I need the bend to indicate how to attack certain notes in saxophone scores.

Does anybody have a modern snippet to share?
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Re: \bendBefore

[Xavier Noria]

On Tue, Jan 28, 2014 at 7:35 PM, Nathan  wrote:

On Mon, Jan 27, 2014 at 12:38 PM, Xavier Noria  wrote:
> > A web search shows \bendBefore is not implemented. I have tried some
> > snippets found out there but failed to get the bends (using LilyJAZZ if
> that
> > matters).
> >
> > I need the bend to indicate how to attack certain notes in saxophone
> scores.
> >
> > Does anybody have a modern snippet to share?
>
> If you'll bear with me here, I find \bendAfter to be rather ugly and
> not at all like the slides I've seen in jazz lead sheets. (For one, it
> stops where the next note starts, usually creating a curve that's too
> long or too short on the horizontal axis.) I prefer a different
> approach to bends, which looks nicer and is also easily extensible to
> something like a \bendBefore.
>
> Anyways, something like the following has served me well:
>
> #(define (scoop-stencil grob)
>   (ly:stencil-add
> (ly:note-head::print grob)
> (grob-interpret-markup grob
>   (markup #:with-dimensions '(0 . 0) '(0 . 0)
>   #:translate '(-0.2 . -0.5)
>   #:path 0.25 '((moveto 0 0)
> (curveto 0 -1 -1 -1.5 -1.5 -1.5))
>
> scoop = \once \override NoteHead #'stencil = #scoop-stencil
>
> \new Staff { \scoop c''4 }
>
> The bend has fixed size and position. That's usually good enough for
> me, but if you require many bends of different sizes, this should be
> adapted into a music function.
>

Works like a charm, thanks very much!
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many bars with the same chrod

[Xavier Noria]

Hi, I am transcribing "Rabbits In The Pea Patch", by Maceo Parker, for
personal study:

Maceo Parker – Rabbits In The Pea
Patch

In this theme Maceo improvises over one chord, and after 32 bars or
something it goes up one, and after another round goes up again, etc.

How would you write the harmony here? I tried to get the first intro bar
blank, then A7 (in E flat) in the second bar, and then I guess I'd leave
the next bars empty meaning the A7 is implicit.

But I get "N.C."s in the empty measures and looks noisy to me.

Indeed I don't even know if what I described above would be idiomatic.

What do you recommend?
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Re: many bars with the same chrod

[Xavier Noria]

Playing with it.

Is there a way to say A1:7*32, similar to the notation for multiple rests?
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Re: many bars with the same chrod

[Xavier Noria]

Ah, this seems to do what I need:

\version "2.18.0"


harmony = \chordmode {

R1*4

a1*4:7

b1*4:7

}


solo = \relative c'' {

r1 | r1 | r1 | a1 | \break

a1 | a1 | a1 | a1 | \break

b1 | b1 | b1 | b1 \bar ".."

}


\score {

<<

\new ChordNames {

\harmony

}

\solo

>>

}
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wrapping music

[Xavier Noria]

I am writing a score that has a few notes with cross heads. It would be
helpful to define \cross such that

   \cross { c8 c8 c8 }

would expand to:

   \override NoteHead.style = #'cross
   c8 c8 c8
   \revert NoteHead.style

Is that possible?
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Re: wrapping music

[Xavier Noria]

Awesome, thanks very much!


On Tue, Mar 11, 2014 at 3:02 PM, Urs Liska  wrote:

> Am 11.03.2014 14:57, schrieb Xavier Noria:
>
>  I am writing a score that has a few notes with cross heads. It would be
>> helpful to define \cross such that
>>
>> \cross { c8 c8 c8 }
>>
>> would expand to:
>>
>> \override NoteHead.style = #'cross
>> c8 c8 c8
>> \revert NoteHead.style
>>
>> Is that possible?
>>
>>  Yes:
>
> cross =
> #(define-music-function (parser location music)(ly:music?)
>#{
>  \temporary\override NoteHead.style = #'cross
>  $music
>  \revert NoteHead.style
>#}
>)
>
> {
>   \cross { c8 c8 c8 }
> }
>
> (I don't know when (recently) the \temporary was included (I think
> somewhere in 2.17). This ensures that NoteHead.style won't be reverted to
> its _default_ value but to the value that was active _immediately before_.
>
> HTH
> Urs
>
>
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advice on final ad lib measure

[Xavier Noria]

I am transcribing the saxophone part of a theme of Dave Brubeck:

The Dave Brubeck Quartet – Five For Ten Small Fingers


The last "measure" is played ad lib. The way they play suggests eights to
me to choose a notation, but they do not look well within the 5/4 tempo
(see screenshot).

Which notation would you suggest there? Is there a way to tell Lilypond
"from here to the last bar this is free do not automatically add measure
bars". Or would you write that in a different way?
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Fwd: advice on final ad lib measure

[Xavier Noria]

Followup for the archives: \cadenzaOn made the trick quite easily, see
screenshot. I don't know if that's an idiomatic way to transcribe
those bars, but looks intuitive to me.

Thanks!
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