Re: new compositions - typesetting - guitar

[bart deruyter]

Hello,

thanks for the interest.
About sharing the code, as I already mailed privately to Tom, I'm not going
to do that, because I don't really know yet what I can do with the music
and sheet music, but the main reason is that there are some includes which
would require a correct path. I'm sure anyone here could fix that, but the
library of includes is so messed up that only I can really make use of it
:-). Cleaning that up is one of the priorities on my 'todo' items :-p.

grtz,
Bart

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op wo 9 dec. 2020 om 01:13 schreef Devin Ulibarri :

> Hi,
>
> I am a guitarist and I would love to read through it.
>
> If, for some reason I do not get back to you in a day or two, please
> feel free to ping me.
>
> (Kind of busy, but very interested.)
>
> Devin
>
> bart deruyter:
> > Hello everyone,
> >
> > I have a question which is not strictly about lilypond, but more about
> > typesetting music in general, and music in general. I hope it still fits
> > within the bounds of this mailing list.
> >
> > Triggered by an online course I've been following, I have been working
> > on some music for classical guitar and I've tried to create the score
> > for it.
> > It is something I never have done, composing for classical guitar, so
> > this series of 5 pieces is what I'd call my first 'opus' :-p.
> >
> > Of course, I've made the score with lilypond, and the front page was
> > done in Inkscape. You'll see by the style that I tried to use the look
> > of some of the scores you can find from the time of Giuliani, Mertz,
> > Sor, etc... When you read or play the music you'll find it is also based
> > on music from that time.
> >
> > My question then is both complicated and simple, is it any good and why,
> > or why not? :-)
> > Would this be good enough to publish?
> >
> > Being mostly self-taught brings one big disadvantage: there is nobody to
> > get feedback from. And that is something I really need. So, if you feel
> > like taking a look at it, and if you spot errors, or if you have any
> > advice on how to change the look, layout, anything to create a good
> > score, if it needs any change, I'd be very grateful to hear your
> comments.
> >
> > If you'd be a composer and/or guitarist, of course, feel free to share
> > your thoughts on the music too.
> >
> > Thanks,
> > Bart
> >
> >
> > https://esmiltania.be
> > On Twitter <https://twitter.com/Bart_Issimo>
> > On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>
> --
> Devin Ulibarri, Musician and co-founder of MAP Family Learning Center
>
> www.devinulibarri.com <https://www.devinulibarri.com/>
>
> Book a Lesson Online!
> <https://online.mapflc.com/product/private-lessons-with-mr-devin/>
>
> Call the MAPFLC Office at 781-605-3711 
>
>

renaissance guitar - tablature

[bart deruyter]

Hello,

I have the luck of having a partner who builds instruments. Recently she
has finished her first four course (actually 7 strings, 3 pair double
string, one single string) renaissance guitar.

I've been looking for music, written for this type of instrument and so far
I found out the music from that period for guitar was mainly written in
tablature. I've found a facsimile of Guillaume Morlaye's Guiterne, and some
other quite difficult to read scans.

I was thinking about how to typeset some of this music, in a system where
tablature is shown underneath a normal score.

- This was helpful somehow:
https://lilypond.org/doc/v2.20/Documentation/notation/lute
but it doesn't include rhythm notation in renaissance style tablature.

- I've already found this: https://lsr.di.unimi.it/LSR/Item?id=920
I'll probably manage to adapt it for four course guitar with a different
tuning. Obviously, I'd love to have the 'old looking output', but somehow I
fail getting Bravura installed. I've downloaded it from git. I've managed
to install other fonts, but this one not. Perhaps someone here knows more
about how to do that.

Even then, though I'll be able to adapt the code, I'm wondering if there
isn't anything simpler by now. It is quite a bit of code to go through to
understand how it works.

- And then I found this thread from 2017:
http://lilypond.1069038.n5.nabble.com/Entering-lute-tablature-td201234.html
, which probably would be very useful.
I wonder what the status is of that implementation, if it's implemented
somehow in lilypond, or if there is a similar library we can include.

thanks,
Bart Deruyter


https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>

Re: renaissance guitar - tablature

[bart deruyter]

Jean,
thank you very much, it does really help.

I think I have problems installing fonts though, I thought I had it working
with frescobaldi, but I can't get frescobaldi to install fonts anymore, no
clue what I'm doing wrong. But that's another issue.
I've done it manually, and tada, the right fonts for the letters were there
:-)

grtz,
Bart

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op vr 19 mrt. 2021 om 10:50 schreef Jean Bréfort :

> Hello,
>
> There has been some discussion last year on the French users list about
> lute tablature that might be useful to you. I add a sample I could make
> with the same music in both a normal score and tablature. The LeRoy
> font can be dowloaded from:
>
> https://www.scoringnotes.com/tutorials/leroy-early-music-fonts-for-sibelius/
>
> Hope this helps,
> Jean
>
> Le vendredi 19 mars 2021 à 10:31 +0100, bart deruyter a écrit :
> > Hello,
> >
> > I have the luck of having a partner who builds instruments. Recently
> > she has finished her first four course (actually 7 strings, 3 pair
> > double string, one single string) renaissance guitar.
> >
> > I've been looking for music, written for this type of instrument and
> > so far I found out the music from that period for guitar was mainly
> > written in tablature. I've found a facsimile of Guillaume Morlaye's
> > Guiterne, and some other quite difficult to read scans.
> >
> > I was thinking about how to typeset some of this music, in a system
> > where tablature is shown underneath a normal score.
> >
> > - This was helpful
> > somehow: https://lilypond.org/doc/v2.20/Documentation/notation/lute
> > but it doesn't include rhythm notation in renaissance style
> > tablature.
> >
> > - I've already found this: https://lsr.di.unimi.it/LSR/Item?id=920
> > I'll probably manage to adapt it for four course guitar with a
> > different tuning. Obviously, I'd love to have the 'old looking
> > output', but somehow I fail getting Bravura installed. I've
> > downloaded it from git. I've managed to install other fonts, but this
> > one not. Perhaps someone here knows more about how to do that.
> >
> > Even then, though I'll be able to adapt the code, I'm wondering if
> > there isn't anything simpler by now. It is quite a bit of code to go
> > through to understand how it works.
> >
> > - And then I found this thread from
> > 2017:
> http://lilypond.1069038.n5.nabble.com/Entering-lute-tablature-td201234.html
> > , which probably would be very useful.
> > I wonder what the status is of that implementation, if it's
> > implemented somehow in lilypond, or if there is a similar library we
> > can include.
> >
> > thanks,
> > Bart Deruyter
> >
> >
> > https://esmiltania.be
> > On Twitter
> > On Google+
>
>

changing rhythmic representation to align 8ths with 4ths

[bart deruyter]

Hello all,

Working on writing down a renaissance piece, tablature combined with
regular notation, I'm stumbling on the rhythm issue.

For example, I have this piece where I've written everything in 2/8, to get
the correct rhythmic representation in my renaissance tablature, but I want
the modern notation, in 2/4.

So far I got to this:
[image: rhythm-tabs.png]
The tablature can easily be changed to 8ths manually, but the rhythm
notation should be in 2/8 to keep the flags correct as in the original.
The rhythm values are in a separate 'variable', and I already found
http://lilypond.org/doc/v2.18/Documentation/notation/displaying-rhythms,
which led me to experiment like this:

\version "2.23.0"
music = \relative c' {c'4 c c c }
musicTwo = \relative c' {c'8 c c c }
\score {
  <<
  \new Staff {\time 4/4 \music}
  \new Staff {\time 4/8 \musicTwo}

  >>
  \layout {
  \context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
  }
  \context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
  }}
}

But this results in a situation where the 8ths are not lined up as 4ths,
which is what I need.

Anyone here who knows how it might be done?

thanks,
Bart

https://esmiltania.be
On Twitter 
On Google+ 

Re: changing rhythmic representation to align 8ths with 4ths

[bart deruyter]

Hey,

thanks for the response, yes, \scaleDurations did the trick!
I never had to use it before, so I didn't even know of it's existence.
That's probably a problem for many, certainly with specific and rare
situations, even finding the right terminology to describe the problem is
sometimes hard to find :-)

Anyways, it works! Now up to the next problem, showing right hand fingering
in the tablature, with dots instead of 'p-i-m-a', and lines to represent
sustaining notes, also in the tab...
A new mail might follow :-)

thanks for the help,
Bart

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op di 23 mrt. 2021 om 11:15 schreef Kevin Barry :

> Hi Bart,
>
> I'm not sure exactly which part of your example you want to be different,
> but perhaps you need to scale the durations somehow, to make 8ths seem like
> 4ths or vice versa?
> There is some info on how to do that here:
> http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations
> \scaleDurations 2/1 might do what you want.
>
> Kevin
>
> On Tue, 23 Mar 2021 at 09:30, bart deruyter 
> wrote:
>
>> Hello all,
>>
>> Working on writing down a renaissance piece, tablature combined with
>> regular notation, I'm stumbling on the rhythm issue.
>>
>> For example, I have this piece where I've written everything in 2/8, to
>> get the correct rhythmic representation in my renaissance tablature, but I
>> want the modern notation, in 2/4.
>>
>> So far I got to this:
>> [image: rhythm-tabs.png]
>> The tablature can easily be changed to 8ths manually, but the rhythm
>> notation should be in 2/8 to keep the flags correct as in the original.
>> The rhythm values are in a separate 'variable', and I already found
>> http://lilypond.org/doc/v2.18/Documentation/notation/displaying-rhythms,
>> which led me to experiment like this:
>>
>> \version "2.23.0"
>> music = \relative c' {c'4 c c c }
>> musicTwo = \relative c' {c'8 c c c }
>> \score {
>>   <<
>>   \new Staff {\time 4/4 \music}
>>   \new Staff {\time 4/8 \musicTwo}
>>
>>   >>
>>   \layout {
>>   \context {
>> \Score
>> \remove "Timing_translator"
>> \remove "Default_bar_line_engraver"
>>   }
>>   \context {
>> \Staff
>> \consists "Timing_translator"
>> \consists "Default_bar_line_engraver"
>>   }}
>> }
>>
>> But this results in a situation where the 8ths are not lined up as 4ths,
>> which is what I need.
>>
>> Anyone here who knows how it might be done?
>>
>> thanks,
>> Bart
>>
>> https://esmiltania.be
>> On Twitter <https://twitter.com/Bart_Issimo>
>> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>>
>

next issue with renaissance guitar tablature - lines representing sustained notes

[bart deruyter]

hello all,
I've continued working on my tablature for 4-course renaissance guitar.
- I've got the old-style rhythm notation, the letters by using a specific
font (could we get these types of letters implemented in lilypond's default
font? I guess lute players would feel very happy about it too.)
- I've got the dots in stroke-finger notation.
- So far only the diagonal lines are a real puzzle to me.
[image: image.png]
Deciphering tablatures I understood that sustained notes are described with
these lines. Here the note on fret 'c' rings until the note on fret 'a' is
played.

I've tried to implement them by using glissandi, but I'd have to adjust the
start and endpoint to get them to look right if it's the right thing to
use.
I haven't found it in the manual yet to adjust the glissando line. Does
anyone here have an idea?
They're not meant to represent sustained notes of course, but I haven't
found another line that would better suit the purpose.
Would it be possible to modify piano sustain markings and use them in
tablature for this purpose? Or is there some other type of 'line' I could
use or even create?

thanks in advance,

Bart



https://esmiltania.be
On Twitter 
On Google+ 

Renaissance guitar tablature issues (previously was next issue with renaissance guitar tablature - lines representing sustained notes)

[bart deruyter]

Hey,

- thanks for the idea, but after some thought, I'm afraid it won't work.
Glissandi don't seem to be the right tool anyway since in the regular staff
I'd have to hide it, and when I'd need a real 'glissando' as glissando, I'd
have to unhide it. I'm sure it would end up being a real mess, certainly
when someone else would edit the file later on.

I've already tried to find a way to achieve a regular line as sustain line,
if that can be rotated or adjusted, but I only found three styles, text,
bracket and mixed. Is there a way to change it in a regular line and adjust
the angle?
Using a sustain pedal-line would be more appropriate because that I could
consistently hide in the regular staff. And that is what these lines
represent anyway. Guitarists, nor lutists use it in a regular staff anyway,
as far as I know, so it could easily be hidden in the regular staff.

-My solution for the dots does not seem to be good after all. I've added
the "New_fingering_engraver" to the tabstaff and modified the strokefinger
to show a dot.
At first it worked, but when applying it in chords, I get this error:
programming error: no side-axis setting found for grob StrokeFinger.

When the Tabstaff is commented out, lilypond does not complain. When used
on a single note (in the chord, or at a standalone note) lilypond doesn't
complain either. My guess is that TabStaff can't completely handle
fingering, at least not right hand fingering because normally we don't add
fingeringnotation in a tabstaff. Or maybe I have to add another 'consists'
that I'm not aware of?

I've added the .ly file in attachment so everyone can see what I'm trying
to achieve (I've omitted the glissando for now).

- This leads me to a third issue I had, but somewhat solved: the font. To
get the right appearance you must have the font installed (= the 'somewhat'
:-) ). It probably will fallback to a default font if you don't have it.
Today I discovered Musescore appears to have similar fonts for lute
tablature. If french tablature letters can be included in lilyponds default
font, maybe these might be an interesting starting point.

Grtz,
Bart


https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op do 25 mrt. 2021 om 20:10 schreef Jean Abou Samra :

>
> Le 24/03/2021 à 23:02, bart deruyter a écrit :
>
> hello all,
> I've continued working on my tablature for 4-course renaissance guitar.
> - I've got the old-style rhythm notation, the letters by using a specific
> font (could we get these types of letters implemented in lilypond's default
> font? I guess lute players would feel very happy about it too.)
> - I've got the dots in stroke-finger notation.
> - So far only the diagonal lines are a real puzzle to me.
> [image: image.png]
> Deciphering tablatures I understood that sustained notes are described
> with these lines. Here the note on fret 'c' rings until the note on fret
> 'a' is played.
>
> I've tried to implement them by using glissandi, but I'd have to adjust
> the start and endpoint to get them to look right if it's the right thing to
> use.
> I haven't found it in the manual yet to adjust the glissando line. Does
> anyone here have an idea?
> They're not meant to represent sustained notes of course, but I haven't
> found another line that would better suit the purpose.
> Would it be possible to modify piano sustain markings and use them in
> tablature for this purpose? Or is there some other type of 'line' I could
> use or even create?
>
> thanks in advance,
>
> Bart
>
>
> Something like this?
>
> \version "2.22.0"
>
> {
>   \hideNotes
>   c'1\tweak bound-details.left.Y -1
>  \tweak bound-details.right.Y 0
>  \glissando
>   d'1
> }
>
> See http://lilypond.org/doc/v2.22/Documentation/internals/glissando
>
> If you provide details for those who don't understand renaissance
> tablature notation, we can probably implement something more automatic.
>
> Best,
> Jean
>
\version "2.20.0"



%A dot instead of letter as strokefinger
dot = \markup \bold \fontsize #'4 {"."}
RHd = \rightHandFinger \dot

music = \relative c' {

2 
<<{ a8  b' c_\RHd  fis} \\ {a,,4. }>> 
}

 

rhythm = {
  \override NoteColumn.X-offset = #-0.7 
g,4 g16 s s s }
\score {
<< 
  \new Staff { \time 2/4
  \hide StringNumber
  \hide StrokeFinger
  \mergeDifferentlyHeadedOn
  \mergeDifferentlyDottedOn
\music 
  }
  
   
  
  \new RhythmicStaff \with {
\time 2/8
 \remove "Sta

Re: next issue with renaissance guitar tablature - lines representing sustained notes

[bart deruyter]

Hello,

this community continues to amaze me. For me this is really mind
blowing :-). Wow, thanks, I'm without words here. It is indeed exactly what
I could use!

Concerning the meaning of the line, I think I was right. Yesterday, on
archive.org, I found a book by Willi Appel from 1949, 'The Notation of
Polyphonic Music 900-1600', where he describes the use of these lines in
lute tablature with a transcription.
The technique was called 'close play' or 'covered play':
https://archive.org/details/notationofpolyph1953apel/page/70/mode/2up?ref=ol&view=theater&q=covered+play

Maybe this book is of interest as a source for other people who are working
on music from that time.

grtz,
Bart

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op za 27 mrt. 2021 om 12:02 schreef Thomas Morley :

>
>
> Am Mi., 24. März 2021 um 23:03 Uhr schrieb bart deruyter <
> bart.deruy...@gmail.com>:
>
>> hello all,
>> I've continued working on my tablature for 4-course renaissance guitar.
>> - I've got the old-style rhythm notation, the letters by using a specific
>> font (could we get these types of letters implemented in lilypond's default
>> font? I guess lute players would feel very happy about it too.)
>> - I've got the dots in stroke-finger notation.
>> - So far only the diagonal lines are a real puzzle to me.
>> [image: image.png]
>> Deciphering tablatures I understood that sustained notes are described
>> with these lines. Here the note on fret 'c' rings until the note on fret
>> 'a' is played.
>>
>
> Not sure you're right, Though, I'm not an expert for renaissance-guitar
>
>>
>> I've tried to implement them by using glissandi, but I'd have to adjust
>> the start and endpoint to get them to look right if it's the right thing to
>> use.
>> I haven't found it in the manual yet to adjust the glissando line. Does
>> anyone here have an idea?
>> They're not meant to represent sustained notes of course, but I haven't
>> found another line that would better suit the purpose.
>> Would it be possible to modify piano sustain markings and use them in
>> tablature for this purpose? Or is there some other type of 'line' I could
>> use or even create?
>>
>> thanks in advance,
>>
>> Bart
>>
>
> Sounds more like a use case for DurationLine, a quite new grob/feature for
> contemporary music.
> But why not use it here as well?
> Needs some tweaking, though. The default is always horizontal.
>
> \version "2.22.0"
>
> \score {
>   <<
> \new TabStaff
>   \with {
>   \override VerticalAxisGroup.staff-staff-spacing.padding = #5
>   }
>   <<
> \new TabVoice {  r8  q b }
> \new TabVoice { g,4.\- r8 }
>   >>
> \new TabStaff
>   <<
> \new TabVoice {  r8  q b }
> \new TabVoice {
>   %% see comment below
>   \override DurationLine.details.line-y-padding = 0.3
>   g,4.\- r8
> }
>   >>
>   >>
>
>   \layout {
>   ragged-right = ##t
> \context {
>   \TabVoice
>   \consists "Duration_line_engraver"
>   %% adjust to taste
>   \override DurationLine.bound-details.left.padding = 1.5
>   %% adjust to taste
>   \override DurationLine.thickness = 1.2
>   \override DurationLine.stencil =
> #(lambda (grob)
>   ;; see `duration-line::calc', `duration-line::print' in
> output-lib.scm
>   (let* (;; To calculate the stencil, get basic values from
>  ;; `duration-line::calc'
>  (dur-line-basics (duration-line::calc grob))
>  (staff-space (assoc-get 'staff-space dur-line-basics))
>  (x-start (assoc-get 'x-start dur-line-basics))
>  (x-end (assoc-get 'x-end dur-line-basics))
>  (scaled-y (* staff-space (assoc-get 'y dur-line-basics)))
>  ;; Provide a new subproperty of 'details to offer
> customizable
>  ;; padding between the staff-lines and vertical start/end
> of
>  ;; DurationLine
>  (details (ly:grob-property grob 'details))
>  (line-y-padding (assoc-get 'line-y-padding details 0.1)))
>  (ly:line-interface::line
>grob
>x-start
>(+ scaled-y line-y-padding)
>x-end
>(- (+ scaled-y staff-space) line-y-padding) )))
> }
>   }
> }
>
> Cheers,
>   Harm
>
>
>

Re: Renaissance guitar tablature issues (previously was next issue with renaissance guitar tablature - lines representing sustained notes)

[bart deruyter]

Hello,

Harm showed me another way to work for those slashes, using 'DurationLine',
maybe it is the result of Urs work? Apparently it is a quite new feature
for contemporary music.
But it is very useful in my tablature example! It's in the original thread.

Thanks to Jean I managed to fix the issue with the dots, indeed, I had to
remove the Script_column_engraver and then add it again after the
New_fingering_engraver, not in Voice, but in TabVoice :-p.
(wow, I could figure that out on my own).
Thanks again for the help!, I'll take a look at the Episema grob, I didn't
know of it's existence, even what was :-).

grtz,
Bart

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op vr 26 mrt. 2021 om 22:10 schreef Leo Correia de Verdier <
leo.correia.de.verd...@gmail.com>:

> If anyone is going to attempt to create a function or engraver for adding
> those slashes automatically there is a thread Urs started last summer about
> Indicating duration with lines where there might be some code worth reusing
> for this.
>
> > 26 mars 2021 kl. 21:01 skrev Jean Abou Samra :
> >
> > Hello,
> >
> > Le 26/03/2021 à 15:23, bart deruyter a écrit :
> >> Hey,
> >>
> >> - thanks for the idea, but after some thought, I'm afraid it won't
> work. Glissandi don't seem to be the right tool anyway since in the regular
> staff I'd have to hide it, and when I'd need a real 'glissando' as
> glissando, I'd have to unhide it. I'm sure it would end up being a real
> mess, certainly when someone else would edit the file later on.
> >>
> >> I've already tried to find a way to achieve a regular line as sustain
> line, if that can be rotated or adjusted, but I only found three styles,
> text, bracket and mixed. Is there a way to change it in a regular line and
> adjust the angle?
> >> Using a sustain pedal-line would be more appropriate because that I
> could consistently hide in the regular staff. And that is what these lines
> represent anyway. Guitarists, nor lutists use it in a regular staff anyway,
> as far as I know, so it could easily be hidden in the regular staff.
> > Hijacking piano pedals is doable. However, I went for a different
> approach, using the Episema grob. This is much simpler as its callbacks are
> those from the line-spanner-interface already, and it is contained in the
> same VerticalAxisGroup as the StaffSymbol (unlike piano pedals which are
> spaced on a different line, with all the implications to let them join
> specific staff positions).
> >
> >> -My solution for the dots does not seem to be good after all. I've
> added the "New_fingering_engraver" to the tabstaff and modified the
> strokefinger to show a dot.
> >> At first it worked, but when applying it in chords, I get this error:
> >> programming error: no side-axis setting found for grob StrokeFinger.
> >>
> >> When the Tabstaff is commented out, lilypond does not complain. When
> used on a single note (in the chord, or at a standalone note) lilypond
> doesn't complain either. My guess is that TabStaff can't completely handle
> fingering, at least not right hand fingering because normally we don't add
> fingeringnotation in a tabstaff. Or maybe I have to add another 'consists'
> that I'm not aware of?
> >
> > A comment in ly/engraver-init.ly tells that Script_column_engraver must
> come before New_fingering_engraver:
> >
> >
> https://gitlab.com/lilypond/lilypond/-/blob/master/ly/engraver-init.ly#L251
> > Thus, one has to \remove the Script_column_engraver and add it later
> again.
> > Note that these two engravers are designed to operate in voice-like
> contexts, not staff-like contexts.
> >
> >> I've added the .ly file in attachment so everyone can see what I'm
> trying to achieve (I've omitted the glissando for now).
> >>
> >> - This leads me to a third issue I had, but somewhat solved: the font.
> To get the right appearance you must have the font installed (= the
> 'somewhat' :-) ). It probably will fallback to a default font
> if you don't have it. Today I discovered Musescore appears to have similar
> fonts for lute tablature. If french tablature letters can be included in
> lilyponds default font, maybe these might be an interesting starting point.
> > I can confirm that this renders awfully over here.
> >
> > If you want to make a feature request for LilyPond, the bug-lilypond
> list is the way to go:
> >
> > http://lilypond.org/contact.html
> >
> > Best,
> > Jean
> >
> >
>
>

Re: two-way synchronization (live or otherwise) between Lilypond and a DAW

[bart deruyter]

Hi,
I don't know if it is an interesting way, or even a possible way, but
Ardour has built in lua scripting to automate tasks:
 http://manual.ardour.org/lua-scripting/

grtz,
Bart

https://esmiltania.be
On Twitter 
On Google+ 


Op do 30 mei 2019 om 22:57 schreef John Helly :

> I'm very interested in this topic as well.  Should this be on the
> developer's list?
> J.
>
> On 5/30/19 10:21, Kieren MacMillan wrote:
> > Hello all,
> >
> > The subject says it all: I’d like to figure out the present
> state-of-the-art when it comes to working with Lilypond and a DAW
> "simultaneously", and discuss what the next steps might be towards
> improving whatever that situation is.
> >
> > Thanks!
> > Kieren.
> > 
> >
> > Kieren MacMillan, composer
> > ‣ website: www.kierenmacmillan.info
> > ‣ email: i...@kierenmacmillan.info
> >
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>
> --
> 
> University of Hawaii, Maui College / Mobile 760.840.8660
>
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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lilyglyphs.sty not found after upgrade to ubuntu 20.04

[bart deruyter]

Hi all,
a bit off topic, but I thought maybe here someone would know something.
I've recently upgraded to ubuntu 20.04 and tried to compile a luatex file
containing lilypond material, using lyluatex and lilyglyphs.

Now my system complains about 'lilyglyphs.sty not found'.
I thought it would have been upgraded too, but it seems like it has been
removed from the system and repositories all together. I don't find
anything related to lilyglyphs in the repository.

thanks,
Bart

https://esmiltania.be
On Twitter 
On Google+ 

Re: lilyglyphs.sty not found after upgrade to ubuntu 20.04

[bart deruyter]

Thanks for looking into it.

Indeed, I installed it using synaptic.
Browsing in the ubuntu packages on:
https://packages.ubuntu.com/search?suite=focal&arch=any&searchon=contents&keywords=lilyglyphs.sty
I don't find it either in 'focal', but I do find it in 'eoan'.
https://packages.ubuntu.com/search?suite=eoan&arch=any&searchon=contents&keywords=lilyglyphs.sty
There I read it should be in the texlive-music package.
Reading the description of 'texlive-music' in synaptic on my current system
(20.04 or focal) lilyglyphs.sty is not mentioned either.

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op do 2 jul. 2020 om 17:13 schreef Urs Liska :

> Am Donnerstag, den 02.07.2020, 17:01 +0200 schrieb Urs Liska:
> > Am Donnerstag, den 02.07.2020, 10:18 +0200 schrieb Urs Liska:
> > > Am 2. Juli 2020 10:00:25 MESZ schrieb bart deruyter <
> > > bart.deruy...@gmail.com>:
> > > > Hi all,
> > > > a bit off topic, but I thought maybe here someone would know
> > > > something.
> > > > I've recently upgraded to ubuntu 20.04 and tried to compile a
> > > > luatex
> > > > file
> > > > containing lilypond material, using lyluatex and lilyglyphs.
> > > >
> > > > Now my system complains about 'lilyglyphs.sty not found'.
> > > > I thought it would have been upgraded too, but it seems like it
> > > > has
> > > > been
> > > > removed from the system and repositories all together. I don't
> > > > find
> > > > anything related to lilyglyphs in the repository.
> > >
> > > Thanks for the report. I don't know anything about it and will
> > > investigate.
> >
> > How did you install LaTeX? I assume you are using TeX Live? The
> > versions from the Ubuntu packages or the downloaded TeX Live?
> >
> > I assume you installed from the Ubuntu packages. If so, which actual
> > packages did you install.
> > https://packages.ubuntu.com/focal/all/texlive-music/filelist
> > indicates
> > lilyglyphs is (still) in the texlive-music collection.
> >
> > Actually I'd be surprised if they had removed it. I'm aware of the
> > possibility of compatibility issues, but I can't imagine they remove
> > packages without warning/asking the maintainers first.
>
> I just had a closer look and found that
> a) lilyglyphs.sty is (now?) placed at tex/lualatex/lilyglyphs
> which is somewhat strange and might xelatex not find it (I'm not sure,
> but if you use lyluatex this can't be the issue anyway.
>
> b)
> I can't find lilyglyphs in the texlive package lists of Ubuntu and
> Debian. I'll ask on the texlive mailing list.
>
> Urs
>
> >
> > BestUrs
> >
> > > Urs
> > >
> > > > thanks,
> > > > Bart
> > > >
> > > > https://esmiltania.be
> > > > On Twitter <https://twitter.com/Bart_Issimo>
> > > > On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
> >
> >
>
>

Re: lilyglyphs.sty not found after upgrade to ubuntu 20.04

[bart deruyter]

Hey all,

because of the absence of lilyglyphs in ubuntu 20.04 packages, I downloaded
it from git, moved the extracted folder to:
~/texmf/tex/latex/
renamed the fonts folder to lilyglyphs and moved it to:
~/texmf/fonts/opentype/
this resulted in: Package fontspec Error: The font "emmentaler-16" cannot
be found...g}},

I guess the lilyglyphs package is working, but can't find the fonts.
My question then is, which the correct path should be? I tried:
~/texmf/fonts/opentype/
~/texmf/fonts/opentype/public/ (according to packages.ubunt.com that's the
path used in usr/share/texlive/)
~/texmf/fonts/
Or do I have to modify some file in the lilyglyphs package and change the
path to where it should look?

Thanks,
Bart

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op do 2 jul. 2020 om 17:24 schreef bart deruyter :

> Thanks for looking into it.
>
> Indeed, I installed it using synaptic.
> Browsing in the ubuntu packages on:
>
> https://packages.ubuntu.com/search?suite=focal&arch=any&searchon=contents&keywords=lilyglyphs.sty
> I don't find it either in 'focal', but I do find it in 'eoan'.
>
> https://packages.ubuntu.com/search?suite=eoan&arch=any&searchon=contents&keywords=lilyglyphs.sty
> There I read it should be in the texlive-music package.
> Reading the description of 'texlive-music' in synaptic on my current
> system (20.04 or focal) lilyglyphs.sty is not mentioned either.
>
> https://esmiltania.be
> On Twitter <https://twitter.com/Bart_Issimo>
> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>
>
> Op do 2 jul. 2020 om 17:13 schreef Urs Liska :
>
>> Am Donnerstag, den 02.07.2020, 17:01 +0200 schrieb Urs Liska:
>> > Am Donnerstag, den 02.07.2020, 10:18 +0200 schrieb Urs Liska:
>> > > Am 2. Juli 2020 10:00:25 MESZ schrieb bart deruyter <
>> > > bart.deruy...@gmail.com>:
>> > > > Hi all,
>> > > > a bit off topic, but I thought maybe here someone would know
>> > > > something.
>> > > > I've recently upgraded to ubuntu 20.04 and tried to compile a
>> > > > luatex
>> > > > file
>> > > > containing lilypond material, using lyluatex and lilyglyphs.
>> > > >
>> > > > Now my system complains about 'lilyglyphs.sty not found'.
>> > > > I thought it would have been upgraded too, but it seems like it
>> > > > has
>> > > > been
>> > > > removed from the system and repositories all together. I don't
>> > > > find
>> > > > anything related to lilyglyphs in the repository.
>> > >
>> > > Thanks for the report. I don't know anything about it and will
>> > > investigate.
>> >
>> > How did you install LaTeX? I assume you are using TeX Live? The
>> > versions from the Ubuntu packages or the downloaded TeX Live?
>> >
>> > I assume you installed from the Ubuntu packages. If so, which actual
>> > packages did you install.
>> > https://packages.ubuntu.com/focal/all/texlive-music/filelist
>> > indicates
>> > lilyglyphs is (still) in the texlive-music collection.
>> >
>> > Actually I'd be surprised if they had removed it. I'm aware of the
>> > possibility of compatibility issues, but I can't imagine they remove
>> > packages without warning/asking the maintainers first.
>>
>> I just had a closer look and found that
>> a) lilyglyphs.sty is (now?) placed at tex/lualatex/lilyglyphs
>> which is somewhat strange and might xelatex not find it (I'm not sure,
>> but if you use lyluatex this can't be the issue anyway.
>>
>> b)
>> I can't find lilyglyphs in the texlive package lists of Ubuntu and
>> Debian. I'll ask on the texlive mailing list.
>>
>> Urs
>>
>> >
>> > BestUrs
>> >
>> > > Urs
>> > >
>> > > > thanks,
>> > > > Bart
>> > > >
>> > > > https://esmiltania.be
>> > > > On Twitter <https://twitter.com/Bart_Issimo>
>> > > > On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>> >
>> >
>>
>>

lilyglyphs not found in ubuntu packages 20.04

[bart deruyter]

Hi all,

I would need to start working on my project again, using luatex, lilypond,
lyluatex and lilyglyphs. But lilyglyphs appears to be missing from the
ubuntu packages. This summer I upgraded to 20.04 though, and I found out to
my surprise, lilyglyphs is missing. It is present in 'eoan' though.

I already contacted the developer but only heard from him it is missing
indeed and he did not know why either.
Maybe someone here knows what has been going on.

If there won't be an update, adding lilyglyphs to the package texlive-music
again,  maybe someone here can help me with a workaround to get it
installed. I already tried what was explained in the documentation, but
that did not seem to work.

thanks,
Bart

https://esmiltania.be
On Twitter 
On Google+ 

Re: lilyglyphs not found in ubuntu packages 20.04

[bart deruyter]

Thanks for the update, I'll look into how I can change my document so it
uses lyluatex only. I used lyluatex to include complete scores in my
document, not for single musical signs, for that I used lilyglyphs.
Actually I'm considering to drop the latex road and switch to libreoffice,
for one big important reason: epub, and I need the epub format because of
the pandemic. I expect more Covid-19 related shutdowns of the schools I
work for, and my students use mobile devices very often. On these pdf's
are often not good, they don't scale good, epub does.

There is one important reason to keep lilyglyphs: compatibility with older
documents.
If I get what I need from lyluatex it's OK for me personally to drop
support for it, I haven't used it that often, I can handle fixing that, but
I doubt I'm the only one having documents using lilyglyphs.
I do revisit older files too and when my pdf's fail to compile because of
issues like these, needing to update something urgently, I think everybody
can agree that is not a very happy moment.
I was lucky it was not urgent. I really can't believe I'm the only one
having used lilyglyphs, so I'm afraid, dropping support for it all together
will result in many 'not very happy moments'.

grtz,
Bart
https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op vr 28 aug. 2020 om 22:06 schreef Urs Liska :

> Hi Bart,
>
> thanks for reminding.
>
> Am Freitag, den 28.08.2020, 21:20 +0200 schrieb bart deruyter:
>
> Hi all,
>
> I would need to start working on my project again, using luatex, lilypond,
> lyluatex and lilyglyphs. But lilyglyphs appears to be missing from the
> ubuntu packages. This summer I upgraded to 20.04 though, and I found out to
> my surprise, lilyglyphs is missing. It is present in 'eoan' though.
>
> I already contacted the developer but only heard from him it is missing
> indeed and he did not know why either.
> Maybe someone here knows what has been going on.
>
>
> I asked on the texlive mailing list, and I got an answer, but I didn't
> manage following through
>
> Am Freitag, den 03.07.2020, 07:41 +0900 schrieb Norbert Preining:
>
> > Hi Urs,
> >
> >
> >
>
> > > Someone posted an issue that lilyglyphs.sty seems to be missing in
> > > TeX
> > > Live after updating to Ubuntu 20.04.
>
> >
> >
> > And in Debian. Because it depends on Python2 the last time I checked,
> >
> > and Python2 programs are not acceptable anymore in Debian and Ubuntu:
> >
> >
> >
> > From my Debian package building config file (ignore the syntax
> > around)
> >
> > # python3 purge - blacklist all packages that don't have py3
> > support
> >
> > blacklist;tpm;ebong;*
> >
> > blacklist;tpm;de-macro;*
> >
> > blacklist;tpm;lilyglyphs;*
> >
> > blacklist;tpm;pygmentex;*
> >
> > blacklist;tpm;sympytexpackage;*
> >
> >
> >
> > Update to Python3 version of the scripts is necessary.
>
>
> So the workaround would be to either update the helper scripts to Python 3
> or to drop these scripts. Off the top of my head I don't know how important
> these scripts actually are or how complex it would be to update them.
>
> They are used to create sets of new notation elements. IIRC.
> My personal gut feeling would be to drop support for lilyglyphs altogether
> because lyluatex can do everything lilyglyphs can, and better - i.e.
> without the need for pre-compiled PDFs. But - and that's a big but - the
> advantage of lilyglyphs is that it doesn't need to run LilyPond. *I* will
> always have LilyPond around, but for a general audience this would be a
> major limitation, I think.
>
> Opinions?
>
> Urs
>
> https://esmiltania.be
> On Twitter <https://twitter.com/Bart_Issimo>
> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>
>

stem length in a three voice setting

[bart deruyter]

Hello,

I'm trying to typeset a score of Sor, a piece with three voices and have
trouble finding a way to shorten the stem length of the middle voice to
make it fit to be between the outer voices. No matter how low I set the
number of Stem.length, it does not shorten.
Here is a simplified version of my code:

\version "2.19.40"
classicalGuitarA = \relative c' {
  \tuplet 3/2 {fis16 g fis} eis8 fis
}
classicalGuitarB = \relative c' {
  \override Stem.direction = #-1
  \override Stem.length = #8
  d8 cis d
}
classicalGuitarC = \relative c {
d4.
}
\score {
\new Staff \with {
} { \time 3/8 \clef "treble_8" << \classicalGuitarA \\
\classicalGuitarC \\
\classicalGuitarB
 >> }
}
this is the result:
[image: image.png]
what I'd need is this:
[image: image.png]
Thanks in advance for pointing me in the right direction :-)

Bart Deruyter

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>

Re: stem length in a three voice setting

[bart deruyter]

Hey,

@Aaron: thank you that's what I'm looking for, thanks!
The version that is posted is not the one that is used, for some reason,
frescobaldi always enters an older lilypond version than the one that is
installed and used, I have no clue why. The one that is running is actually
2.20.0. But that's a different issue all together.

Again, thanks! Now finding a way to memorise it for later usage too! :-)

Bart

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op zo 18 okt. 2020 om 22:06 schreef Aaron Hill :

> On 2020-10-18 12:37 pm, bart deruyter wrote:
> > Hello,
> >
> > I'm trying to typeset a score of Sor, a piece with three voices and
> > have trouble finding a way to shorten the stem length of the middle
> > voice to make it fit to be between the outer voices. No matter how low
> > I set the number of Stem.length, it does not shorten.
> > Here is a simplified version of my code:
> >
> > \version "2.19.40"
> > classicalGuitarA = \relative c' {
> >   \tuplet 3/2 {fis16 g fis} eis8 fis
> > }
> > classicalGuitarB = \relative c' {
> >   \override Stem.direction = #-1
> >   \override Stem.length = #8
> >   d8 cis d
> > }
> > classicalGuitarC = \relative c {
> > d4.
> > }
> > \score {
> > \new Staff \with {
> > } { \time 3/8 \clef "treble_8" << \classicalGuitarA \\
> > \classicalGuitarC \\
> > \classicalGuitarB
> >  >> }
> > }
>
> 
> \version "2.20.0"
>
> classicalGuitarA = \relative c' {
>\tuplet 3/2 {fis16 g fis} eis8 fis
> }
> classicalGuitarB = \relative c' {
>\override Beam.positions = #'(-1.25 . -1.25)
>\once \shiftOff
>d8 cis d
> }
> classicalGuitarC = \relative c {
>d4.
> }
>
> {
>\key d \major
>\time 3/8
>\clef "treble_8"
>\voices 1,4,2 <<
>  \classicalGuitarA \\
>  \classicalGuitarB \\
>  \classicalGuitarC
>>>
> }
> 
>
> That's the closest I can get it to match.
>
> NOTE: I am using a newer version of LilyPond that supports the \voices
> command.
>
>
> -- Aaron Hill

Re: stem length in a three voice setting

[bart deruyter]

@Knute: I have, only one is listed, 2.20.0 and yet frescobaldi enters
2.19.40 when using its snippet.

but thanks for the suggestion of course!

Bart

https://esmiltania.be
On Twitter <https://twitter.com/Bart_Issimo>
On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>


Op zo 18 okt. 2020 om 22:45 schreef Knute Snortum :

> In Frescobaldi, have you tried Edit > Preferences > LilyPond Preferences?
> You can have multiple versions and set the Frescobaldi to use the version
> closest to the one in the input file.
>
> ---
> Knute Snortum
> (via Gmail)
>
>
> On Sun, Oct 18, 2020 at 1:28 PM bart deruyter 
> wrote:
>
>> Hey,
>>
>> @Aaron: thank you that's what I'm looking for, thanks!
>> The version that is posted is not the one that is used, for some reason,
>> frescobaldi always enters an older lilypond version than the one that is
>> installed and used, I have no clue why. The one that is running is actually
>> 2.20.0. But that's a different issue all together.
>>
>> Again, thanks! Now finding a way to memorise it for later usage too! :-)
>>
>> Bart
>>
>> https://esmiltania.be
>> On Twitter <https://twitter.com/Bart_Issimo>
>> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>>
>>
>> Op zo 18 okt. 2020 om 22:06 schreef Aaron Hill > >:
>>
>>> On 2020-10-18 12:37 pm, bart deruyter wrote:
>>> > Hello,
>>> >
>>> > I'm trying to typeset a score of Sor, a piece with three voices and
>>> > have trouble finding a way to shorten the stem length of the middle
>>> > voice to make it fit to be between the outer voices. No matter how low
>>> > I set the number of Stem.length, it does not shorten.
>>> > Here is a simplified version of my code:
>>> >
>>> > \version "2.19.40"
>>> > classicalGuitarA = \relative c' {
>>> >   \tuplet 3/2 {fis16 g fis} eis8 fis
>>> > }
>>> > classicalGuitarB = \relative c' {
>>> >   \override Stem.direction = #-1
>>> >   \override Stem.length = #8
>>> >   d8 cis d
>>> > }
>>> > classicalGuitarC = \relative c {
>>> > d4.
>>> > }
>>> > \score {
>>> > \new Staff \with {
>>> > } { \time 3/8 \clef "treble_8" << \classicalGuitarA \\
>>> > \classicalGuitarC \\
>>> > \classicalGuitarB
>>> >  >> }
>>> > }
>>>
>>> 
>>> \version "2.20.0"
>>>
>>> classicalGuitarA = \relative c' {
>>>\tuplet 3/2 {fis16 g fis} eis8 fis
>>> }
>>> classicalGuitarB = \relative c' {
>>>\override Beam.positions = #'(-1.25 . -1.25)
>>>\once \shiftOff
>>>d8 cis d
>>> }
>>> classicalGuitarC = \relative c {
>>>d4.
>>> }
>>>
>>> {
>>>\key d \major
>>>\time 3/8
>>>\clef "treble_8"
>>>\voices 1,4,2 <<
>>>  \classicalGuitarA \\
>>>  \classicalGuitarB \\
>>>  \classicalGuitarC
>>>>>
>>> }
>>> 
>>>
>>> That's the closest I can get it to match.
>>>
>>> NOTE: I am using a newer version of LilyPond that supports the \voices
>>> command.
>>>
>>>
>>> -- Aaron Hill
>>
>>

Re: lilypond.org blocked by OpenDNS?

[bart deruyter]

Maybe something to do with http versus https ?

Op zo 6 jan. 2019 21:05 schreef N. Andrew Walsh  Hi Sasha,
>
> Likewise, happy New Year.
>
> On Sun, Jan 6, 2019 at 8:12 PM SashaO  wrote:
>
>> Hello and Happy New Year!
>>
>> I have something installed on my computer that uses OpenDNS and it blocks
>> lilypond.org with the message:
>>
>
> Not sure what that's about. My VPN uses OpenDNS for name resolution, and I
> can load the page just fine. Are you sure it isn't being blocked at some
> other point?
>
> Cheers,
>
> A
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>
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Re: lilypond.org error 500

[bart deruyter]

I've got the same thing here in Belgium.
https://esmiltania.be
On Twitter 
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Op zo 10 mrt. 2019 om 09:25 schreef Andrew Bernard :

> Also seeing it here in Australia. Error 500.
>
> On Sun, 10 Mar 2019 at 19:02, Saul Tobin 
> wrote:
>
>> Currently getting Internal Server Error 500 on Lilypond.org. Also looks
>> like the site is only on http, no https.
>>
>> ___
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>
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rest collisions warning but no collision

[bart deruyter]

Hi all,
running this code (also in attachment) results in a warning saying there
are too many colliding rests. I don't see where the collision could be
though, the warning shouldn't be there in my opinion. I know it renders
fine, but still, I prefer results without warnings, it makes me worry that
I've done something wrong... :-)
If there is something wrong in my code... don't hesitate to tell
I've also attatched an image.

\version "2.18.0"


 \paper {


}

global = {

\key a \major

\time 3/4


 }


upper = \relative a {

\global


g'4\rest d8 fis a fis


 \bar "|."

}


lower = \relative a, {

\global

s2.


}

upperSecond = \relative a {

a16\rest a_( b) a \stemDown d a fis' a, a' a, fis' a, |

}

\score {


 \new Staff \with {

midiInstrument = "acoustic guitar (nylon)"


 } { \clef "treble_8" << \upper \\ \lower \\ \upperSecond>> }

\layout { }

\midi {

\context {

\Score


 }

}

\header {


 }

}
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\version "2.18.0"

  
\paper {

}
global = {
  \key a \major
  \time 3/4

 
}

upper = \relative a {
  \global

g'4\rest d8 fis a fis

  \bar "|."
}

lower = \relative a, {
  \global
s2.

}
upperSecond = \relative a {
  a16\rest a_( b) a \stemDown d a fis' a, a' a, fis' a, |
}
\score {
 

  \new Staff \with {
midiInstrument = "acoustic guitar (nylon)"

  } { \clef "treble_8" << \upper \\ \lower \\ \upperSecond>> }
  \layout { }
  \midi {
\context {
  \Score

}
  }
  \header {

  }
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Re: rest collisions warning but no collision

[bart deruyter]

thanks for the suggestion, I'll try it out when I'm back home.

One thing remains confusing though. If I've avoided the collision, they are
not colliding anymore, so it still should be valid because, well, I've
avoided it...
By choosing for the voiceOne and voiceTwo technique I'd avoid it as well

It's probably a lilypond-code thing of which I don't know much :-)

grtz,
Bart

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2014-09-05 16:18 GMT+02:00 Phil Holmes :

>  They are effectively colliding, which you've avoided by moving them as
> pitched rests.  I suggest you get rid of the pitched rests and the stemXX
> commands, and use voiceOne and voiceTwo for the upper and lower voices.
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* bart deruyter 
> *To:* lilypond-user@gnu.org
> *Sent:* Friday, September 05, 2014 2:53 PM
> *Subject:* rest collisions warning but no collision
>
> Hi all,
> running this code (also in attachment) results in a warning saying there
> are too many colliding rests. I don't see where the collision could be
> though, the warning shouldn't be there in my opinion. I know it renders
> fine, but still, I prefer results without warnings, it makes me worry that
> I've done something wrong... :-)
> If there is something wrong in my code... don't hesitate to tell
> I've also attatched an image.
>
>  \version "2.18.0"
>
>
>  \paper {
>
>
> }
>
> global = {
>
> \key a \major
>
> \time 3/4
>
>
>  }
>
>
> upper = \relative a {
>
> \global
>
>
> g'4\rest d8 fis a fis
>
>
> \bar "|."
>
> }
>
>
> lower = \relative a, {
>
> \global
>
> s2.
>
>
> }
>
> upperSecond = \relative a {
>
> a16\rest a_( b) a \stemDown d a fis' a, a' a, fis' a, |
>
> }
>
> \score {
>
>
> \new Staff \with {
>
> midiInstrument = "acoustic guitar (nylon)"
>
>
> } { \clef "treble_8" << \upper \\ \lower \\ \upperSecond>> }
>
> \layout { }
>
> \midi {
>
> \context {
>
> \Score
>
>
> }
>
> }
>
> \header {
>
>
> }
>
> }
> http://www.bartart3d.be/
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>
> --
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Re: fonts.openlilylib.org is live!

[bart deruyter]

Wow,

this is fantastic. I just installed the latest development version,
downloaded the font files and set them in the right directories and voilà,
done.
It simply works :-p .

Congratz,

Bart

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2014-09-11 7:06 GMT+02:00 Abraham Lee :

> On Wed, Sep 10, 2014 at 9:06 PM, Shane Brandes 
> wrote:
>
> I fiddled around with making one a while back but thought the system was
> to oddball to be handily useful at the time and that was several releases
> ago. I may work on one when the snows come again, probably for an earlier
> printing era. Shane
>
>
> Shane,
>
> If you'd like to send me something you've done, I can help get the font
> working for you. It's kind of a complicated process, as you so mentioned,
> but I've been able to streamline the font creation process so it's not much
> effort for me as long as I have a normal font file to work with. I can put
> the glyphs in the right places as long as they are the scaled to be the
> correct size (250 em-unit staff space, 0=lowest staff line, 1000=highest
> staff line). Let me know if I can help at all.
>
> Regards,
> Abraham
>
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Re: Henle Music font

[bart deruyter]

Thanks indeed,and yes, incredible how fast you get things like this done. I
hardly have tried out one of the others and there is another font :-).
More things to try out, fun fun fun...

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2014-09-25 7:41 GMT+02:00 Martin Tarenskeen :

>
>
> On Wed, 24 Sep 2014, tisimst wrote:
>
>  Here it is! The new Henle look-a-like music font. I call it "Beethoven"
>> after the score from which many of the glyphs were based off of. Check it
>> out at and download it from  fonts.openlilylib.org
>>   .
>>
>
> Thanks! I find it amazing how fast you release one new font after the
> other! I think it took years to design the standard LilyPond fonts. And it
> makes me wonder how much work it has been to design good looking fonts
> before computers were introduced to typeset and engrave sheet music...
>
> --
>
> MT
>
>
>
>
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switching stem direction within voice to avoid collisions

[bart deruyter]

Hi all,

I'm typesetting something from Heinrich Albert and one exercise has three
voices. To avoid collisions, they switch the direction of the stems within
one voice and I haven't found how to achieve it.

If someone knows where to find this in the documentation or in a snippet...

The image shows what I want to achieve.

thanks,

Bart

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switching
Description: Binary data
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Re: switching stem direction within voice to avoid collisions

[bart deruyter]

thanks for the quick solution.

I've adapted the example of Pierre, to a score without the use of contexts
and omitted assigning a voice to the 'voiceTwo' part. That made it possible
for the 'mergeDifferentlyHeadedOn' to show the half-note. Using contexts
lilypond threw an error when not assigning that voice.

I don't know if it's good practice, but it works...

thanks again :-)

grtz,

Bart

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2015-01-26 13:27 GMT+01:00 Brian Barker :

> At 12:55 26/01/2015 +0100, you wrote:
>
>> I'm typesetting something from Heinrich Albert and one exercise has three
>> voices. To avoid collisions, they switch the direction of the stems within
>> one voice and I haven't found how to achieve it.
>>
>
> The voices have their own stem directions, of course. You can disable this
> and allow stems to go either way with \stemNeutral - but that probably
> won't help you here. Otherwise you can use \stemDown and \stemUp directly.
> Will those work for you?
>
> Brian Barker - privately
>
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Re: book parts and page breaks

[bart deruyter]

Francesco,

when I started with lilypond it was confusing for me too. You can however
have multiple score blocks in one file. Then they don't end up on one
system.

My workflow on large amounts of exercises is as such:

- create a file for each exercise
- create a new file, in which you include the seperate exercises.
- only use bookparts when it are sections that start on a new page, and/or
might need a different layout.

Here is an example of what I did:

\version "2.19.16"
\paper {
  indent = 0\mm
}
\header {
 tagline = ""
}

\include "exercise01.ly"
\include "exercise02.ly"
\include "exercise03.ly"
\include "exercise04.ly"
\include "exercise05.ly"

In this case, each .ly file contains a score.

Of course you can write the different scores in one file, but I find it
better not to. The advantage is that  you can reuse the seperate exercises
if you have to make a different collection of exercises for one particular
task/student/group of students.

If you want different scores in one file without bookpart you can do the
following. It does not get rendered in one system.

exerciseOne= \relative c'' {
a b c d e
}

exerciseTwo = \relative c' {
a b c d e
}
\score {
\new Staff { \exerciseOne }
\layout { }
\midi{ }
}

\score {
\new Staff { \exerciseTwo }
\layout { }
\midi{ }
}

I hope this helped.

Bart

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2015-03-15 18:28 GMT+01:00 Francesco Petrogalli <
francesco.petroga...@gmail.com>:

> > Have you considered modifying the \header format for scores? If I were in
> > your situation, I might try modifying scoreTitleMarkup to look the way I
> > wanted. There are some examples at
> >
> http://lilypond.org/doc/v2.18/Documentation/notation/custom-titles-headers-and-footers#custom-layout-for-titles
> > <
> http://lilypond.org/doc/v2.18/Documentation/notation/custom-titles-headers-and-footers#custom-layout-for-titles
> >
>
> Well, the problem with such modification is that I don't know how to
> place multiple exercises in the same score.
> If I place multiple staves in a score, they get rendered together in
> the same system.
>
> Francesco
>
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Re: (hypothetical) Availability of LilyPond engravers

[bart deruyter]

Hi,

I think it's a very interesting question, but I think the answer will
always be very vague.

Not only is it hard to estimate how many people use lilypond, but it is,
even harder to find out what is ment with 'qualified engraver', at least
here in Belgium, because I don't even know what a 'qualified engraver'
means, nor how to get 'qualified' (I have no knowledge of any school
teaching music typesetting).

But I've been typesetting quite a bit of shorter and longer pieces for
guitar, for teaching purposes, my guitarbook, myself and for others, but
without payment, at least not directly.

I have time and I'd love to typeset more often, so if you need one more,
count me in too ;)

grtz,

Bart

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2015-04-16 20:14 GMT+02:00 Kieren MacMillan :

> Hi Urs,
>
> > I realize that I don't have a real idea about the size of our community,
> and particularly regarding the availability of music typesetters who could
> offer reliably continuous engraving services.
>
> This is something I’m interested in as someone who potentially wants to
> HIRE a Lilypond assistant, as opposed to offering my own services!  :)
>
> > Is it realistic to say there are always enough engravers at hand to
> accept work?
>
> Can’t wait to hear the final answer.
>
> > I feel that one aspect that makes publishers hesitate to consider
> LilyPond is exactly this question: They know that there will always be a
> sufficient number of available and qualified Finale and Sibelius users, and
> presumably even Score users, but they don't have an idea about this with
> LilyPond.
>
> +1
>
> > Any opinions or estimates?
>
> My gut reaction (projecting from my own life, of course) is that many of
> us are composer-engravers who barely even have time to get our own scores
> done, or hobbyists who wouldn’t be appropriate for the job. The “sweet
> spot” of qualified engravers with time on their hands is probably pretty
> small.
>
> Thanks for asking the question!
> Kieren.
>
> ___
>
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> www:  
> email:  i...@kierenmacmillan.info
>
>
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showing alternative chordname

[bart deruyter]

Hi all,

I got stuck here in a transcription of a folk tune. I'd like to show a
possible alternative for a chord e.g.:
C(Gm7). It's written like this in the orignal, but I'm not sure if that's
the correct way to describe a possible alternative for a chord, or how to
achieve it.

if anyone has an idea...

thanks,

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Re: showing alternative chordname

[bart deruyter]

@David : hey, thanks, that was a quick fix :-).
@Michael: I tried this but on the chordnames, not on the notes, foolish
me... :-)

grtz,

Bart

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2015-08-03 11:35 GMT+02:00 Michael Hendry :

>
> > On 3 Aug 2015, at 10:16, David Kastrup  wrote:
> >
> > bart deruyter  writes:
> >
> >> Hi all,
> >>
> >> I got stuck here in a transcription of a folk tune. I'd like to show a
> >> possible alternative for a chord e.g.:
> >> C(Gm7). It's written like this in the orignal, but I'm not sure if
> that's
> >> the correct way to describe a possible alternative for a chord, or how
> to
> >> achieve it.
> >>
> >> if anyone has an idea...
> >
> > \chords { c4 g \once \override ChordName.text = "C(Gm7)" c g }
> >
> > Works as of version 2.19.9 (issue 3966) in connection with detecting
> > chord changes, but the original implementation is in 2.17.2
> > (issue 2813).  Most uses will likely work as expected even then.
> >
> > --
> > David Kastrup
> > ___
>
> You could also use
>
> ^\markup “(gm7)”
>
> After the first note in the relevant bar of the melody, which puts this
> and any other alternative chords at a different level above the stave from
> the original chords.
>
> Michael
>
>
>
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idea for fretboard-diagram chords

[bart deruyter]

Hi all,

in my study about jazz it became very clear to me that the predefined
fretboard diagrams in lilypond are very limited, and why.

There just are too many ways to form a chord on the guitar to list them
all. I know the user can create their own custom fretboard tables, but in
my case, each time I have to do this, I have to look up examples of code to
create them correctly, in other words it often is quite some work.

A book I recently started reading brought me on an idea to expand the
predefined chord list.

To make it easier to learn, the author divided the chords in an interesting
way, He used the root string, not the root note.

It's just an idea and would not solve all problems, or offer all possible
ways to display a chord, but what if, as lilypond user one could choose a
fretboard diagram based on the root string. That way it might even be
possible to expand the list to inverted chords, using a similar syntax

I was thinking about something like for example:

\chordFretboards = \chordmode {
\set rootString #'6
c4:m

\set rootString #'5
c4:m
}

For inversions one might choose a number based on the n'th note of a chord,
for example 2 as the second note from the root note, which in the case of
c:m would result in a ees as the lowest note and display a fretboard
diagram accordingly.

\invertedChords = \chordmode{
\setrootString #'6
\set inversion #'2
c4:m
}

I think this can be used for other instruments too.

What do you think? Can this be achieved? Is it a good idea to implement,
good enough for a feature request? :-) .

grtz,

Bart

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Re: OT: Beauty of programming languages

[bart deruyter]

My turn :-)

I'm 40, started using lilypond a couple of years ago, I think in 2012, not
sure actually.

I play guitar as first instrument and teach it in non-traditional schools,
mainly because I don't have the qualifications on paper and now it's too
late/expensive/time_consuming to get one.

I use lilyond not only for the quality of the output but also because it is
so feature rich. I mean, a lot is very hard to achieve or not achievable
with other open source tools and the open source element is important for
me.

The fact that there seem to be very few 20-ish people (or none, I didn't go
through the entire list here) using lilypond does not surprise me.
And this is in my opinion not because of the way lilypond works
(text-based).

Teaching guitar to younger people and older people shows a clear difference
between their interests which could be extrapolated to much more (such as
choosing lilypond).
Younger people want to see results, without knowing how or what's behind
it. I give them a song to study, tabs, sheet music, whatever, and they're
happy with it.
The attitude from older people is more like "what is happening there... "
or, "why do you this or that." (both in technique as in background theory
of the song).

And I don't think it's because of the "age". I think it is because of what
people are used to. Now there's an app for everything. With a tap or a
click on a button people get "something" without understanding the
background. There's a tool for everything and more important, there's no
need to understand it. And if they want to understand it they find a link
to a wikipedia page :-)

People from an earlier period have known the time when dragging a picture
from explorer into word was not possible yet. They (I, or we) had to think
about clicking on the right buttons, and to memorise it I had to understand
the purpose, or the reason behind the button to import an image into word.

Now I've seen countless times people dragging a picture into word and press
the printer button without even thinking that word is not ment for printing
photo's, nor thinking about the quality setting in the printer dialogue.
But they are happy with it, because they have their photo on paper and
that's all they want, not a professional photo print.

Similarly: lilypond. You have to think about what you do with it, you have
to know the reason and the idea's behind the program itself to be able to
use it properly. Most  (younger)  people these days don't need professional
quality sheet music in the first place, they just want some result, no
matter how bad the image quality is, as long as they can read the music,
it's fine.
So why bother learning it?

The older way of thinking is not a bad thing of course, I prefer it too :-)
. In the case of lilypond, I learned a lot about music terminology, chord
construction, instrument specific techniques and signs simply because I
needed to find it in the documentation.

For example, for some signs I knew what they looked like, and what they
meant, but not the right word for it (probably a language issue too, most
of the web is English, and I'm Dutch, so confusion can kick in with a heavy
beat). What I mean is that software with a big learning curve makes  you
learn about more then the software alone. It makes people think in a
certain way and creates bridges between different subjects (e.g. the entire
list of emails about the e:5 chord, what it means, should mean, might mean,
now outputs, shout output, etc..  )

And to get on-topic again, this also makes a program language a beauty :-p.

grtz,

Bart


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2015-09-18 16:03 GMT+02:00 zzk :

> Here I come, 50's :)
>
> Instruments: keyboards and acoustic guitar.
>
> Started using Lilypond in combination with Sublime Text 2 in 2013 to
> typeset
> my own music, after getting frustrated with Sibelius. I have learned about
> Lilypond through Steinberg's blog on their new notation software.
>
> Currently considering to change my workflow to Frescobaldi / Sublime Text
> combo. Frescobaldi has some fantastic features, but I find Sublime Text to
> be faster and more flexible for text entry, and it also supports the
> Lilypond's syntax.
>
> Zoran
>
>
>
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/Way-to-flatten-nested-include-s-tp179946p181300.html
> Sent from the User mailing list archive at Nabble.com.
>
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Re: idea for fretboard-diagram chords

[bart deruyter]

hi,

I think things like adding \set chordShape #a would only be good in barré
cases.

I suggested the string as basis because of all the chords that are not
based on the basic chords, and in different positions as well, with a root
on different strings, often found in Jazz.
I've looked at the link Patrick showed. These are indeed based on basic
chord shapes but again, these don't offer a solution for chords out of the
basic chord shape range.

In the mean time, I'm already working on a list :-p, I'll put them on
github when I've got something worth to look at :-)

grtz,

Bart

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2015-09-19 9:14 GMT+02:00 pls :

> Marc Hohl  writes:
>
> > Am 18.09.2015 um 08:40 schrieb bart deruyter:
> >> Hi all,
> > [...]
> >> For inversions one might choose a number based on the n'th note of a
> >> chord, for example 2 as the second note from the root note, which in the
> >> case of c:m would result in a ees as the lowest note and display a
> >> fretboard diagram accordingly.
> >>
> >> \invertedChords = \chordmode{
> >> \setrootString #'6
> >> \set inversion #'2
> >> c4:m
> >> }
> >>
> >> I think this can be used for other instruments too.
> >>
> >> What do you think? Can this be achieved? Is it a good idea to implement,
> >> good enough for a feature request? :-) .
> >
> > I like the idea, perhaps enlarged by a \set chordShape command.
> > Most chord shapes may be derived from either an open C, A, G or E
> > chord voicing.
> >
> > \set chordShape #'A
> > c4:maj7
>
> This is the basic idea of
> https://github.com/Philomelos/lilypond-predefined-fretboards. Here are
> some test files:
> https://github.com/Philomelos/lilypond-predefined-fretboards/tree/master/EADGBE/test
> .
>
> hth
> patrick
>
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Re: quarter-tone tablatures notation

[bart deruyter]

> but it sure is possible to "bend" open strings using the tuning heads.

On electric guitar bending open strings is easily done with the tremolo
arm. I've seen it in some transcriptions of guitar-solo's in popular music,
but I can't recall where I've seen it.

grtz,

Bart

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2015-10-26 11:07 GMT+01:00 David Kastrup :

> pls  writes:
>
> > David Kastrup  writes:
> >
> >> Thomas Morley  writes:
> >>
> >>> Ok. I found a problem: you can't bend an open string ...
> >>
> >> When you "bend" with a bottleneck, it might be feasible.  So not sure
> >> whether this would not warrant at least an option.
> >>
> >> And I'm not sure whether fretlass basses are on-topic for "bending".
> >>
> >> Basically I have no idea at all but like throwing them around and see if
> >> something sticks.
> >
> > I can't think of a way to "bend" an *open* string with a bottleneck
>
> I thought of placing the bottleneck at half-fret position without
> pressing down.  I mean, it's a glissando device, right?
>
> > but it sure is possible to "bend" open strings using the tuning heads.
>
> That would more be like a permanent change of tuning I think.  Depending
> on the guitar's setup, "bending" beyond the nut may be an option for
> open strings.
>
> --
> David Kastrup
>
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guitar scale diagram - change root

[bart deruyter]

Hi all,

I'm assembling a list of scales for my students. with scale diagrams. I've
successfully implementend : http://lsr.di.unimi.it/LSR/Item?id=790 . But
now I stumble on another problem.

The snippet for the scale diagram assumes that the lowest sounding note is
the root of the scale. What if it isn't the case?
I'd like to change the root to for example the second note in the list, or
the third, whichever I'd need as root.

Can this be achieved by adding something to the snippet?

grtz,

Bart

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Re: guitar scale diagram - change root

[bart deruyter]

Hey,

thank you for the idea's. I thought I had to add an argument to the list,
but I'm not that advanced in using lilypond to implement it myself. With
this kind of solutions my understanding grows bit by bit :-) .

That other thread was very interesting for me indeed.

It works, great!

grtz,

Bart

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2015-11-20 15:02 GMT+01:00 Klaus Blum :

> Hi Bart,
>
> yes, that's no problem.
> In the attached file, I've added a parameter "start". It's an integer to
> indicate the tone number to start with, i.e. 1 for the root etc. This might
> be a start.
>
> Recently, there has been another thread that might be interesting for you
> as
> well:
>
> http://lilypond.1069038.n5.nabble.com/Guitar-Fret-Diagram-scale-degree-below-string-td179664.html#a179739
>
> Cheers,
> Klaus
>
> ChangeRoot.ly
> <http://lilypond.1069038.n5.nabble.com/file/n183842/ChangeRoot.ly>
>
>
> bart deruyter wrote
> > I'm assembling a list of scales for my students. with scale diagrams.
> I've
> > successfully implementend : http://lsr.di.unimi.it/LSR/Item?id=790 . But
> > now I stumble on another problem.
> >
> > The snippet for the scale diagram assumes that the lowest sounding note
> is
> > the root of the scale. What if it isn't the case?
> > I'd like to change the root to for example the second note in the list,
> or
> > the third, whichever I'd need as root.
> >
> > Can this be achieved by adding something to the snippet?
>
>
>
>
>
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/guitar-scale-diagram-change-root-tp183837p183842.html
> Sent from the User mailing list archive at Nabble.com.
>
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Re: Fonts from the former fonts.openlilylib.org

[bart deruyter]

Hi all,

reading this thread, I've been doing some searching, rather 'googling'
about fonts and lilypond.

Given the current situation, there is a lot of confusion. With this I mean
that right now I find everywhere that you can change the font, of course
fonts.openlilylib.org is closed, which leads us to close to none free
alternative fonts (I might be wrong though, but I know of none, except
Bravura and lilyJazz).

But on for example http://lilypondblog.org/ there are several articles
about the fonts now being in the discussion, with links to
fonts.openlilylib.org, which don't work anymore of course.

Also, the way how to install fonts in lilypond is quite hard to find on the
web. It is an action not every user performs regularly, so people (like me)
tend to forget and have to look it up again. I used to look it up on
fonts.openlilylib.org, but that one is down. So now I found the detailed
instructions on a github page.

I have those fonts downloaded about a year ago, I guess. I don't really
need them at the moment, but because of reading this thread I tried to
install them again now, using todays lilypond code and it took me about an
hour, reading through articles just to find an up to date instruction to
know what to do.

What I want to say is that for an average user, not following this mailing
list, it is hard to figure out what is going on right now. Or to know what
to do if they find alternative fonts.

I understand that Abraham needs time to figure out what he will do with his
fonts in the future, but it I think it is important that the information on
blogs and other websites are updated to the current situation, even only a
warning in the article,  mentioning that the fonts are not available (or an
alternative site where the fonts are) at the moment would be enough. Also
the information about how to install those fonts, in detail, as in step by
step guide, with and without scripts to ease the installation process,
should be more easily found.

grtz,
Bart



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2016-03-27 11:57 GMT+02:00 Urs Liska :

>
>
> Am 27. März 2016 10:13:20 MESZ, schrieb tisimst <
> tisimst.lilyp...@gmail.com>:
> >Andrew,
> >
> >On Sun, Mar 27, 2016 at 12:39 AM, N. Andrew Walsh [via Lilypond] <
> >ml-node+s1069038n189018...@n5.nabble.com> wrote:
> >
> >> A side note: it seems to me that one of Abraham's root causes for
> >wanting
> >> to commercialize the substantial work he's done making engraving
> >fonts is
> >> his own financial situation.
> >>
> >
> >You have understood the situation correctly!
> >
> >
> >> If this is the case, it might be worth considering some of the
> >> crowd-funding mechanisms that support development work. For example,
> >though
> >> I've never used it before, Patreon ( www.patreon.com) allows groups
> >to
> >> fund developers with a monthly contribution. One or two people
> >chipping in
> >> might not amount to much, but a whole lot of people chipping in a bit
> >might
> >> indeed make up a substantial supplementary income. (one of my
> >favorite game
> >> mods is funded this way, netting the developer about €1k a month).
> >>
> >> My concern is that trying to build an income by commercializing fonts
> >that
> >> have already been out in the wild for a while seems problematic both
> >from
> >> the side of its viability as a business venture and from the
> >licensing side
> >> (as well as the social side of a community that's been freely using a
> >> resource that now looks to become somewhat less free). Abraham, is
> >this an
> >> option that you've considered?
> >>
> >> On the purely abstract level, I'm much more in favor of working from
> >> patronage rather than sales and licensing.
> >>
> >
> >I'm really glad you brought this up. To be quite honest, I have
> >considered
> >it and I continue to wrestle with the idea. I am definitely willing to
> >consider this. That way, I can technically continue to offer the fonts
> >freely and the regular patronage covers any continued development as
> >well
> >as user support. In fact, I'd much rather do this if I can feel find a
> >crowd-funding service that I feel good about. I have considered Patreon
> >before, but before I jump into that, does anyone else have any other
> >suggestion? If anyone has first-hand experiences with crowd-funding, I
> >would appreciate hearing from you.
>
> You had this "Donate" button online. Did this generate *anything*?
>
>
> >
> >Best,
> >Abraham
> >
> >
> >
> >
> >--
> >View this message in context:
> >
> http://lilypond.1069038.n5.nabble.com/Fonts-from-the-former-fonts-openlilylib-org-tp188991p189023.html
> >Sent from the User mailing list archive at Nabble.com.
> >
> >
> >
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Re: score as footnote/footer

[bart deruyter]

hey,

maybe a bit late, but I've done this in footnotes in the past. There was
one issue though, footnotes are placed on top of each other like:

1. one score here
2. second score here.
3. third score here.

What I needed back then was footnotes next to each other like:

1. one score here. 2. second score here 3. third score here.

The reason is that these scores are short parts, but can take a lot of
vertical space.

Back then it was not possible to get the scores horizontally next to each
other. Just informing, is it possible now?

The advantage of footnotes is that in a muliple page document, they would
be rendered on the right page automatically.

grtz,
Bart

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2016-04-17 13:34 GMT+02:00 bobr...@centrum.is :

> Thanks for the responses.  The score-in-copyright idea does precisely what
> I want; it's centered at the bottom of the first and only the first page of
> a score.
>
> 
> \version "2.18.0"
>
> models =  \relative c' {
>   c4-( d-) e-( f-)
>   \bar "||"
>   c4. d8 e4. f8
> }
>   \layout {}
>
>
> tune = \relative c' {\repeat unfold 25 { c4 d e f }}
>
> \score {
>   \tune
> }
>
>
> \header {
>   tagline = ""
>   copyright = \markup \score {
> \models
> \layout { }
>   }
> }
> 
>
> - Original Message -
> > From: "Urs Liska" 
> > To: bobr...@centrum.is, "Lilypond-User Mailing List" <
> lilypond-user@gnu.org>
> > Sent: Sunday, April 17, 2016 9:35:16 AM
> > Subject: Re: score as footnote/footer
> >
> >
> >
> > Am 17. April 2016 11:28:23 MESZ, schrieb "bobr...@centrum.is"
> > :
> > >It is sometimes the case in an etude book that a model of the etude
> > >showing a different general rhythm or articulation pattern will be
> > >given at the bottom of a page.  Typically, the model will be only one
> > >or a very few measures in a smaller size, centered at the bottom of the
> > >page.  Is this possible in straight LilyPond or is it necessary to use
> > >LilyPond-book?  I would prefer a straight LilyPond solution.
> > >
> > >-David
> > >
> >
> > I think this should be possible by inserting a score in a markup in the
> > copyright field.
> >
> > HTH
> > Urs
> >
> > --
> > Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail
> gesendet.
> >
>
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tablature, alternate fingering

[bart deruyter]

Hi all,

I'd like to write down an alternate way of playing a chord for guitar. As
you all probably know, a note can be played at different frets/strings.
This makes no difference on a score, and with regular fingering notation
it's easy to describe, but how do I change it in a tablature? For example
for playing an 'e' on an 'a' string instead of the second fret of the 'd'
string. Lilypond defaults to the second fret on the d-string, how do I tell
lilypond to add nr 7 on the a-string instead?

and merry Christmas to all of course :-)

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add9 chords

[bart deruyter]

Hi all,

I've searching for a way to add 'add9' chords to my own version of
predefined fretboards, but whatever I do, it does not accept it and doesn't
render it. I think the system doesn't allow 'add9' as chordname, because
when I change it to '9', like 'c:9' it does render.

How can I solve this? I'm using both 9 and add9 chords for my guitarbook,
and do need both, so using c:9 to describe c:add9 is quite confusing.
I know I can modify chordnames, and in the chordnames I can get c:add9, but
not in the fretboards. I do need the fretboards for these chords, it is a
teaching book and I don't want to break the consistency.

Grtz,

Bart


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Re: add9 chords

[bart deruyter]

hm, thanks for all the tips, but:

- c:9 produces a C9, including the seventh, (sorry Robert Schmaus, I just
tested it)
- c:7.9 renders a C9, including seventh too
- C:9^7 produces a C7 chord (just tried it Robert Kohnert).
- Using:  \set additionalPitchPrefix = #"add" only changes the chord name,
not the diagram.
using lilypond version 1.17.6

I need the diagram of a Cadd9, not C9.

Adding:


\addChordShape #'c:add9 #guitar-tuning #"x;3-3;2-2;o;3-4;o;"

\storePredefinedDiagram #default-fret-table \chordmode {c:add9}

#guitar-tuning

#(chord-shape 'c:add guitar-tuning)


to the predefined chordlist does not work, since c:add9 is not accepted by
lilypond as a chord name, when I change the name to c:9 it does render this
diagram, but it also shows the chord name as C9, while it is a Cadd9.

Really no solution for a Cadd9? I guess this must be a bug then...

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2013/2/6 Noeck 

>   \set additionalPitchPrefix = #"add"
> within \chordmode renders the chord name with add9 instead of 9 only.
>
> Example:
>
> \version "2.16.0"
> cd = \chordmode {
>   \set additionalPitchPrefix = #"add"
>   c1:9 c:9^7 c:5.9
> }
> <<
> \new ChordNames \cd
> \new FretBoards \cd
> \new Staff \cd
> >>
>
> Am 06.02.2013 13:40, schrieb bart deruyter:
> > Hi all,
> >
> > I've searching for a way to add 'add9' chords to my own version of
> > predefined fretboards, but whatever I do, it does not accept it and
> > doesn't render it. I think the system doesn't allow 'add9' as chordname,
> > because when I change it to '9', like 'c:9' it does render.
> >
> > How can I solve this? I'm using both 9 and add9 chords for my
> > guitarbook, and do need both, so using c:9 to describe c:add9 is quite
> > confusing.
> > I know I can modify chordnames, and in the chordnames I can get c:add9,
> > but not in the fretboards. I do need the fretboards for these chords, it
> > is a teaching book and I don't want to break the consistency.
> >
> > Grtz,
> >
> > Bart
> >
> >
> > http://www.bartart3d.be/
> > On facebook <https://www.facebook.com/pages/BartArt3D/169488999795102>
> > On Twitter <https://twitter.com/#%21/Bart_Issimo>
> > On Identi.ca <http://identi.ca/bartart3d>
> > On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
> >
> >
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Re: add9 chords

[bart deruyter]

lol, indeed, 2.17.6... so the search continues...

I was hoping to get it by trying out c:2 for diagram, and splitting
chordnames and and chord diagrams, and using "  \set additionalPitchPrefix
= #"add"",
but c:2 renders a Csus2 diagram.. bummer getting quite completely stuck
here...


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2013/2/6 Jan Kohnert 

> Hi there,
>
> Am Mittwoch, 6. Februar 2013, 21:54:57 schrieb bart deruyter:
> > - c:9 produces a C9, including the seventh, (sorry Robert Schmaus, I just
> > tested it)
>
> yes, thats perfectly correct, since 9 means 7th and 9th. :)
>
> > - c:7.9 renders a C9, including seventh too
>
> this is the same command as above…
>
> > - C:9^7 produces a C7 chord (just tried it Robert Kohnert).
>
> This is working here using Lily 2.14.2, but I've set \semiGermanChords in
> the
> chord section, maybe that changes the behaviour. If the above command
> produces
> a 7th instead of an add9 (the '^' removes the following note, not the
> previous
> one), this was either changed in some development version (maybe some
> developer can help about that) or I consider it to be a bug.
>
> > using lilypond version 1.17.6
>
> You mean 2.17.6, don't you? 1.X cannot even be decribed by the term ancient
> (though I started with some 1.X version…). :)
>
> --
> MfG Jan
>
>
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Re: add9 chords

[bart deruyter]

@Noeck: thanks for the help, was just working on that solution. Indeed,
that seems to be the way to go.
It's sad thought that 'add' is not accepted by \storepredifineddiagram in a
chord name.
It would have made things quite a bit easier for a chord that is, in my
opinion, used quite often.
I'll put this on the 'wishlist' for lilypond :-).

Grtz,

Bart

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2013/2/6 Noeck 

>
>
> Am 06.02.2013 22:24, schrieb bart deruyter:
> > lol, indeed, 2.17.6... so the search continues...
> >
> > I was hoping to get it by trying out c:2 for diagram, and splitting
> > chordnames and and chord diagrams, and using "  \set
> > additionalPitchPrefix = #"add"",
> > but c:2 renders a Csus2 diagram.. bummer getting quite completely
> > stuck here...
>
> If I understand you right, the code below should be a solution.
> The valid chord in chordmode is either c:5.9 or c:9^7 and you can't
> change that. But you can change how it is printed as chord name and you
> can define your fret diagram. Both is shown below.
>
> Btw, my last mail already showed that a Cadd9 (c5.9) has a different
> fret diagram than a C9 (c:9) chord.
>
> HTH,
> Joram
>
> \version "2.16.0"
>
> \addChordShape #'c:5.9 #guitar-tuning #"x;3-3;2-2;o;3-4;o;"
> \storePredefinedDiagram #default-fret-table \chordmode {c:5.9}
> #guitar-tuning
> #(chord-shape 'c:5.9 guitar-tuning)
>
> cd = \chordmode {
>   \set additionalPitchPrefix = #"add"
>   c1:9 c:9^7 c:5.9
> }
>  <<
>   \new ChordNames \cd
>   \new FretBoards \cd
>   \new Staff \cd
>  >>
>
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Re: Indexed PDF portfolio of 2.17.20 docs

[bart deruyter]

Interesting document :-), I'm going to  read it through, certainly the
'extending' part.

It's strange though, running ubuntu here I installed adobe reader as you
suggested, but I only get a black page, nothing more.

Using okular I get a message with an add to adobe reader, and  a message
that says there are several files embedded. I get the option to extract
them as seperate files, which I did. Then I could read everything perfectly
well.

It is weird that here it works better without adobe reader. Adobe Reader
here is reader 9, probably yours is newer which would explain a different
experience.

Grtz,

Bart



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2013/6/11 Nick Payne 

> On 11/06/13 12:32, Nick Payne wrote:
>
>> 54Mb in size: https://www.dropbox.com/s/**q9u89cbsbrgkjkc/Lilydoc-2.17.**
>> 20.pdf 
>>
>>
> p.s. I forgot to add - Adobe Reader is the only product I am aware of that
> can successfully open PDF portfolios. All the third party PDF readers I've
> tried barf on them...
>
>
>
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barré fret diagram guitar

[bart deruyter]

Hi all,

I stumbled on something I do'nt know how to fix :-)

For some students of mine, I want to write down a score and I would like to
add some fretboard diagrams to show how to take the chords.

I've got here a Bm/F chord that I'd like to show as simply taking the
barré-chord Bm and starting from the d-string instead of the a-string.So
the lowest sounding b-note has to be shown as muted in the fret diagram
while still showing that the index finger spans onto that muted string


To show what I want to achieve I've added a little drawing :-)


I know it seems useless to let the barré span over a non-played note, but
it is for educational purposes.


Grtz,


Bart



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Re: barré fret diagram guitar

[bart deruyter]

Hi Peter,

thanks for showing the solution. Indeed, my mistake I should have written
bm/F#.

I'm a little confused now. I'm so much used to the system used with
'\addChordShape' and '\StorePredefinedDiagram'  in the predefined fretboard
diagrams, that I didn't recognise your code.
I just found the way you do it in the notation reference, thanks to your
hint. I'll dig into it. I kept searching in the predefined diagrams and
missed chapter 2.4.1 in the reference using markup.

It is amazing, I've written so much in lilypond for myself and I keep
finding new things and other ways to write it down. It's a good thing of
course, but sometimes a bit confusing and a lot of searching.. lol.

Again, thanks for the help.

Greets,

Bart


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2013/9/20 Peter Bjuhr 

>
> On 09/20/2013 11:20 AM, bart deruyter wrote:
>
> I've got here a Bm/F chord that I'd like to show as simply taking the
> barré-chord Bm and starting from the d-string instead of the a-string.So
> the lowest sounding b-note has to be shown as muted in the fret diagram
> while still showing that the index finger spans onto that muted string
>
>
>  To show what I want to achieve I've added a little drawing :-)
>
>
> Hi Bart!
>
> Maybe I missed the real issue here, but isn't this what you were sketching?
>
> \version "2.17.26"
>
>
>  <<
>
> \context ChordNames {
>
> \chordmode {
>
> b1:m/fis
>
> }
>
> }
>
> \context Staff {
>
> \clef "treble_8"
>
> < fis b d' fis'>1 ^\markup
>
> \fret-diagram #"c:5-1-2;6-x;5-x;4-4;3-4;2-3;1-2;"
>
> }
>
> >>
>
>
> Best
> Peter
>
>
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Re: barré fret diagram guitar

[bart deruyter]

Hi all,

I found a way to solve this using markup, thanks to Peter Bjuhr, but I
haven't found a way to add this in a custom fretboard description. I'd
really prefer it so I could easily seperate the fretboard diagrams from the
score.
Now the fretboard diagrams have to be mixed into the score, which really is
not nice. It's harder to read the lilypond file, and I have to dig into the
score code to get a version without diagrams instead of just modifying the
score part.

I've tried something like this:

\addChordShape #'bes:m/f #guitar-tuning #"x;1-x-(;3-3;3-4;2-2;1-1-);"


together with this:


\storePredefinedDiagram #custom-fretboard-table-one

\chordmode{b:m/fis}

#guitar-tuning

#(offset-fret 1 (chord-shape 'bes:m/f
guitar-tuning))


but it doesn't work.


Are there other solutions?


Grtz,


Bart

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2013/9/20 bart deruyter 

> Hi Peter,
>
> thanks for showing the solution. Indeed, my mistake I should have written
> bm/F#.
>
> I'm a little confused now. I'm so much used to the system used with
> '\addChordShape' and '\StorePredefinedDiagram'  in the predefined fretboard
> diagrams, that I didn't recognise your code.
> I just found the way you do it in the notation reference, thanks to your
> hint. I'll dig into it. I kept searching in the predefined diagrams and
> missed chapter 2.4.1 in the reference using markup.
>
>  It is amazing, I've written so much in lilypond for myself and I keep
> finding new things and other ways to write it down. It's a good thing of
> course, but sometimes a bit confusing and a lot of searching.. lol.
>
> Again, thanks for the help.
>
> Greets,
>
> Bart
>
>
> http://www.bartart3d.be/
> On facebook <https://www.facebook.com/pages/BartArt3D/169488999795102>
> On Twitter <https://twitter.com/#%21/Bart_Issimo>
> On Identi.ca <http://identi.ca/bartart3d>
> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>
>
> 2013/9/20 Peter Bjuhr 
>
>>
>> On 09/20/2013 11:20 AM, bart deruyter wrote:
>>
>> I've got here a Bm/F chord that I'd like to show as simply taking the
>> barré-chord Bm and starting from the d-string instead of the a-string.So
>> the lowest sounding b-note has to be shown as muted in the fret diagram
>> while still showing that the index finger spans onto that muted string
>>
>>
>>  To show what I want to achieve I've added a little drawing :-)
>>
>>
>> Hi Bart!
>>
>> Maybe I missed the real issue here, but isn't this what you were
>> sketching?
>>
>> \version "2.17.26"
>>
>>
>>  <<
>>
>> \context ChordNames {
>>
>> \chordmode {
>>
>> b1:m/fis
>>
>> }
>>
>> }
>>
>> \context Staff {
>>
>> \clef "treble_8"
>>
>> < fis b d' fis'>1 ^\markup
>>
>> \fret-diagram #"c:5-1-2;6-x;5-x;4-4;3-4;2-3;1-2;"
>>
>> }
>>
>> >>
>>
>>
>> Best
>> Peter
>>
>>
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>>
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Re: Lilypond.org

[bart deruyter]

I can't reach it either. Ubuntustudio 13.04 here, from Belgium. Same
message from  
http://www.**downforeveryoneorjustme.com/
too,
should be up, but doesn't load here.

grtz,
Bart

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2013/10/13 Phil Holmes 

> Is anyone else having difficulties accessing lilypond.org?  If I try from
> a browser from any one of 3 machines here (Windows Vista, 7 and Ubuntu),
> browsers Chrome, Firefox and IE, I'm told the site can't be accessed.  If I
> use either of 2 programs I wrote, they download the page OK.  If I try
> http://www.**downforeveryoneorjustme.com/it's
>  fine.  If I try a proxy I wrote on the web, it's fine.
>
> Mystified but seeking help.
>
> --
> Phil Holmes
>
>
>
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barre line chordshape

[bart deruyter]

Hi all,

I was wondering, as standard notation for the F, I am used to the non-barré
chord, using the index to cover the first fret of the b and e string of the
guitar. But I'm really having a hard time figuring this out in notation,
showing the barré line on the chordshape at the b and e string. Can someone
help me out here?

I already got this far :

\addChordShape #'alternf #guitar-tuning #"x;x;3-3;2-2;1-1;1-1;"

Thanks,
Bart

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Re: barre line chordshape

[bart deruyter]

@James Lowe :
I've tried countless snippets, got tiered of trying even more. Then figured
out I was finding snippets for 2.13.2 branch lilypond, while I use 2.13.41.
I had no time to spend anothour 2 hours figuring out and trying to
understand a dozen other snippets, so I mailed this mailinglist.
Thanks for the suggestion though.

@Patrick Schmidt :

Thanks, that did the trick indeed. Some things have changed in coding
chordshapes since the stable 2.12 branch, that causes usage of the code I
have used for this piece in 2.13.41  quite difficult in Scribus, where I use
it to illustrate theory in examples. I've fixed it though, changed the
lilypond path to the one frescobaldi uses, works fine now :-).

Grtz,

Bart
http://www.bartart3d.be/


2010/12/6 Patrick Schmidt 

>
> Am 06.12.2010 um 21:04 schrieb bart deruyter:
>
> Hi all,
>
> I was wondering, as standard notation for the F, I am used to the non-barré
> chord, using the index to cover the first fret of the b and e string of the
> guitar. But I'm really having a hard time figuring this out in notation,
> showing the barré line on the chordshape at the b and e string. Can someone
> help me out here?
>
> I already got this far :
>
> \addChordShape #'alternf #guitar-tuning #"x;x;3-3;2-2;1-1;1-1;"
>
> Try this:
> \addChordShape #'alternf #guitar-tuning #"x;x;3-3;2-2;1-1-(;1-1-);"
>
>
> Thanks,
> Bart
>
> http://www.bartart3d.be/
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error in predefined chord diagram?

[bart deruyter]

Hi all,

I've noticed something strange in the predefined chord diagrams for guitar.
While writing on my book for teaching guitar, I noticed the chord C#
diminished is weird to say at the least. The fret diagram is very wrong I'm
afraid :
http://lilypond.org/doc/v2.13/Documentation/notation/predefined-fretboard-diagrams
To be more precise, it shows the use of the third fret on the g-string. Last
time I checked, this is A# or Bb. What does this do in C# diminished? Or am
I so very mistaken?

What should I do to fix this in my code?

Grtz,
Bart
http://www.bartart3d.be/
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Re: error in predefined chord diagram?

[bart deruyter]

What's to fix? the predefined fretdiagram of C#° shows a different chord,
namely C#dim7, according to Michael Ellis...

I need C#°,  erroneous predefined chord diagrams need to be fixed of course.


http://www.bartart3d.be/


2011/1/29 David Kastrup 

> bart deruyter  writes:
>
> > Hi all,
> >
> > I've noticed something strange in the predefined chord diagrams for
> > guitar. While writing on my book for teaching guitar, I noticed the
> > chord C# diminished is weird to say at the least. The fret diagram is
> > very wrong I'm afraid :
> > http://lilypond.org/doc/v2.13/Documentation/notation/predefined-
> > fretboard-diagrams
> > To be more precise, it shows the use of the third fret on the g-
> > string. Last time I checked, this is A# or Bb. What does this do in C#
> > diminished?
>
> Uh, why wouldn't it be in C# diminuished?  It's a minor third below C#,
> or three minor thirds above it.
>
> > Or am I so very mistaken?
> >
> > What should I do to fix this in my code?
>
> What's to fix?
>
> --
> David Kastrup
>
>
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Re: error in predefined chord diagram?

[bart deruyter]

The score is correct, the diagrams are wrong, of all diminished chords I
think. C diminished and D diminished are wrong too, the diagrams at least.

http://www.bartart3d.be/


2011/1/29 Michael Ellis 

> On Sat, Jan 29, 2011 at 2:57 PM, David Kastrup  wrote:
> >
> > Uh, why wouldn't it be in C# diminuished?  It's a minor third below C#,
> > or three minor thirds above it.
> >
> >> Or am I so very mistaken?
> >>
> >> What should I do to fix this in my code?
> >
> > What's to fix?
>
> Just looked at the doc.  Bart's right.  The staff shows C# E G.
> Either the diagram or the staff notation should be changed.  FWIW,
> this is one of those cases where jazz chord naming is often sloppy.
> Most classical theory books use the degree symbol alone to indicate a
> diminished triad and add the numeral seven when a fully-diminished 7th
> is to be indicated.
>
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Re: error in predefined chord diagram?

[bart deruyter]

I can only  speak for guitarists, because I am a guitarist, classical
guitarist, and I'll definatly stick to the correct naming for the correct
chords, and I am now going to create my own version of this predefined
guitar diagrams list. If all goes well, and I can manage it, I want to
upload it for everyones use of course.

I still want to add that when browsing the chord list in tuxguitar there
also is a 'dim' and a dim7' chord difference, in which the dim shows the
theoretically correct dim chord, and the dim7 a dim7, as I suspected.

If I am correct, but I can't tell, guitar pro probably has the same as
tuxguitar, since tuxguitar presents itself as a free alternative for it. But
that needs to be checked of course. I still wonder though, why in the
documentation, a correct dim chord is shown in the score, while a dim7 is
shown as the fret diagram. That really needs to be changed, because it is
simply technically wrong.

Another question, as a jazz guitarist, what name is given to a theoretically
correct diminished chord, I mean, without the 7?

grtz,
Bart
http://www.bartart3d.be/


2011/1/30 David Kastrup 

> Carl Sorensen  writes:
>
> > The source for the chord is this:
> >
> > http://www.8notes.com/guitar_chord_chart/Cxdim.asp
> >
> > But my "The Gig Bag Book of Picture Chords for all Guitarists" lists
> > that same chord as C#dim7, but also says that dim and dim7 are
> > alternate names for the same chord.
> >
> > According to Wikpedia, "In most sheet music books, Cdim or C0 denotes
> > a diminished seventh chord with root C. and Cm-5 or Cmb5 denotes a
> > diminished triad with root C.  However, in some modern jazz books and
> > some music theory literature, Cdim or C0 denotes a diminished tirad,
> > while Cdim7 or C07 denotes a diminished seventh chord."
> >
> > So at least from these references, there is a difference of opinion
> > about this notation.
> >
> > If we can get agreement from the guitarists on the list about what is
> > right, we'll fix it to what is agreed.
>
> I think we should include accordionists in this discussion...
> Accordions build their chords from notes of a fixed octave (never mind
> inversions, there are separate bass buttons establishing the bass tone,
> usually by alternating with the chord button).  It has "seventh" and
> "diminuished" chords that are notable for not including a fifth.  So
> indeed C#dim would be C# E Bb on an accordion.
>
> Accordion chords have a number of different styles of notation.  One is
> just spelling out the actual pitches.  And that's basically what we want
> to be doing in the case of guitar chord diagrams/tabulature as well.
> There is no point in spelling out a keyboard chord in tabulature or
> specific guitar notes.
>
> But there is a point in writing _keyboard_ chords in notes but putting
> chord diagrams for guitar above.
>
> So basically we need a mechanism that can take a bunch of keyboard
> chords and route them through predefined chord set translator for a
> particular instrument, be that an accordion (which does not bother all
> too much with fret diagrams actually, so this translation should not be
> tied to them all too much) or a guitar.
>
> --
> David Kastrup
>
>
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Re: error in predefined chord diagram?

[bart deruyter]

Perhaps a solution would be like what is being done with midi, setting a
midi instrument. That way automatically the correct diagram for this
specific instrument can be shown.

e.g :

Chords = \chordmode {
\setDiagramInstrument ="#guitar"
cis:dim
}
notes =  {
\relative c

{
<  e g cis g' >2 | cis4 \mark "kl. terts" e| e \mark "kl. terts"  g \bar
"|."
}
}
\new Score {
<<

\new ChordNames { \Chords }
  \new FretBoards { \Chords }
 \new Staff
{

   \clef "treble_8" \time 2/4 \key d\major \notes
  }
>>
}


http://www.bartart3d.be/


2011/1/30 David Kastrup 

> Patrick Schmidt  writes:
>
> > Am 30.01.2011 um 10:45 schrieb bart deruyter:
> >
> > I can only  speak for guitarists, because I am a guitarist,
> > classical guitarist, and I'll definatly stick to the correct
> > naming for the correct chords, and I am now going to create my own
> > version of this predefined guitar diagrams list. If all goes well,
> > and I can manage it, I want to upload it for everyones use of
> > course.
> >
> > This has been discussed on the tablature list and I'm working on a
> > solution. There are several problems to solve. For example you can't
> > define two different chord shapes for the same chord in one list.
>
> As I mentioned: the task "map keyboard chords in a normal score to
> different chords in a normal score" is necessary for other instruments
> not concerned with string diagrams at all.
>
> So we should have a mapping infrastructure independent from string
> diagrams, and have a function converting a string diagram into an
> appropriate string-agnostic data structure for the mapping.
>
> --
> David Kastrup
>
>
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Re: error in predefined chord diagram?

[bart deruyter]

I looked through the tuxguitar fret diagrams, and found this the most
interesting C#dim chordshape (I'm copying now from my own, extremely
incomplete predefined-guitar-fretboards-fix.ly file :

\addChordShape #'c:dim #guitar-tuning #"x;3-4;1-1;o;1-2;o;"
\storePredefinedDiagram #default-fret-table \chordmode {cis:dim}
#guitar-tuning
#(offset-fret 1 (chord-shape 'c:dim guitar-tuning))

for D#dim I first wanted to offset :
\addChordShape #'d:dim #guitar-tuning #"x;x;0;1-2;3-4;1-3;" one fret higher,
but then the fingering of the first fret on the D-string doesn't show, so I
created another chordshape :
\addChordShape #'dis:dim #guitar-tuning #"x;x;1-1;2-2;4-4;2-3;"

Perhaps it can be offsetted with an aditional fingering notation in the
diagram but my knowledge of lilypond still is somewhat limited, and right
now I don't have the time to browse through the documentation for it. Got a
book to write and at the moment I just have to modify the diagrams I need at
the moment.

Adding a display type, as Colin Campbell suggested, would be very nice
indeed, that might make it a complete system, but then all the diagrams need
to be reviewed, checked and double checked for each genre and instrument
where diagrams are used. Additional diagrams will have to be created too. No
problem for me of course :-). I want to help, if my current knowledge about
lilypond is good enough of course.

Perhaps, for the time being, it might be good to add a comment in the
documentation that the current diagrams are based on jazz conventions (so I
understand from the discussion here), and that the shown diagrams are not
the only possible versions. That will prevent future confusion. I can
imagine many beginning guitar student might think that the shown chords are
the only ones around, certainly because they are so well presented in
lilypond, while obviously this is not the case.
I don't know who to contact about this though.

grtz,

http://www.bartart3d.be/


2011/1/30 Carl Sorensen 

> On 1/30/11 2:45 AM, "bart deruyter"  wrote:
>
> > I can only  speak for guitarists, because I am a guitarist, classical
> > guitarist, and I'll definatly stick to the correct naming for the correct
> > chords, and I am now going to create my own version of this predefined
> guitar
> > diagrams list. If all goes well, and I can manage it, I want to upload it
> for
> > everyones use of course.
>
> Great!  But I don't imagine that you need to go to all the effort to
> recreate the list if you think that most chords are fine.  We've got enough
> feedback to indicate that the current diagram is in error for C#dim (and
> I'll assume D#dim as well).  What diagram would you recommend for these
> chords?
>
> Thanks,
>
> Carl
>
>
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Re: Re: scorio.com a WYSIWYG scorewriter with LilyPond-Export

[bart . deruyter]

I also get this error.. running linux here, firefox 3.6.13

Op schreef Éditions IN NOMINE :

Great news !





With my Firefox3.6.13, it says :







Une erreur système inattendue s'est produite.





java.lang.NullPointerException





?





Best regards



JMarc





Johannes Feulner a écrit :



On http://www.scorio.com/ a fully web browser based scorewriter project  
has started end of last year.




You can interactively enter and edit your music and create PDFs for  
printout. There is MIDI playback and online storage for your scores. The  
functionality is limited but keeps growing week by week.




scorio.com uses LilyPond as layout engine. You can export your score in  
LilyPond's format at any time. Though importing is limited to MusicXML at  
this point.




scorio.com is a free service and may serve well for the initial entry of  
music and might be especially helpful for beginners.





Johannes



scorio Team





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Re: Re: error in predefined chord diagram?

[bart . deruyter]

@ Carl Sorensen
Wow, looks great :-), though I'd play the D° as following : xx0131 .  
Doubling the first note of the chord is better then the third of it, when  
it is possible. And it's even easier to take.


This is why I love open source, people really can contribute :-D.

@ Tim McNamara
Could you specify what you mean with fourth fingering? As I see it, as far  
as I've seen the pdf, the fourth fingering is doubling one of the notes of  
the chord, which is perfectly valid, and not playing a fourth note in the  
chord, as the previous version did, which resulted in a 7th. A regular C  
chord doubles the c and e too, a regular E even has 3 e notes.




grtz,
Bart

Op schreef Carl Sorensen :

I've put together a proposed set of dim and dim7 fretboards.





You can download it at




ttredirects=0&d=1"  
target="_blank">https://sites.google.com/site/cdslilypond/docs/display-dim-fretboards.pdf?a



ttredirects=0&d=1>





or view it at





https://sites.google.com/site/cdslilypond/docs/display-dim-fretboards.pdf>





Please comment.





Thanks,





Carl







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Re: error in predefined chord diagram?

[bart deruyter]

Indeed, it would be much more clear if the notes should match the fingering,
but then the notes should be adjusted, not the fingering But then the basic
structure of a chord gets much less clear. It already was suggested both
could be shown in the presentation.

Chord diagrams are actually almost only used in popular music, which is,
when it's about guitar, mostly based on chords. These chords are basically
shortcuts, to grab them quickly. When it's about these predefined chords,
we're talking about these quickly to take chords. They almost never are only
the 3 notes of a chord, with this I mean, without doubled notes.

To be even more perfect, these notes should appear in the right order,
because we otherwise could have inversed chords, and these  are named
differently too (D/F# for example... 200232). Then almost all of the
suggested diminished chords will have to be changed, to a more difficult to
grab chord, including all those other chords we even haven't looked at.

If only fingerings are shown that are 100% theoretically correct, we end up
with a chord list nobody uses, and the purpose of the predefined guitar
fretboards is gone. Though extending the chordlist with these inversions
would be nice too ;-) .

That's why, I thought at least, these predefined chords are created, to make
it possible to quickly write them down in lilypond. When it's about
theoretically 100% perfect chords people still can create their own fret
diagrams.

Let's stick to the purpose of these predefined guitar fretboards.

Here an example of how it could change :


\include "predefined-guitar-fretboards.ly"
Chords = \chordmode {
e:m
}
notes =  {
\relative c

{
1| 
}
}
\score {

<<
\new ChordNames { \Chords }
  \new FretBoards { \Chords }
 \new Staff{
   \clef "treble_8" \time 4/4 \notes
  }
>>
}

http://www.bartart3d.be/


2011/2/6 Tim McNamara 

> There is a fourth note, double one of the notes in the triad, in the dim
> fingerings that is not in the score.  IME the fingering should match the
> score in cases where there is a score.  The dim chord is a triad so the
> fingering should contain only those three notes with none of them doubled;
> the dim7 is a tetrad and the fingerings correctly contain those four notes.
>
> This may be overly pedantic.
>
> On Feb 6, 2011, at 3:17 AM, bart.deruy...@gmail.com wrote:
>
> > @ Carl Sorensen
> > Wow, looks great :-), though I'd play the D° as following : xx0131 .
> Doubling the first note of the chord is better then the third of it, when it
> is possible. And it's even easier to take.
> >
> > This is why I love open source, people really can contribute :-D.
> >
> > @ Tim McNamara
> > Could you specify what you mean with fourth fingering? As I see it, as
> far as I've seen the pdf, the fourth fingering is doubling one of the notes
> of the chord, which is perfectly valid, and not playing a fourth note in the
> chord, as the previous version did, which resulted in a 7th. A regular C
> chord doubles the c and e too, a regular E even has 3 e notes.
> >
> > Op schreef Carl Sorensen :
> > > I've put together a proposed set of dim and dim7 fretboards.
> > >
> > >
> > >
> > > You can download it at
> > >
> > >
> > >
> > > ttredirects=0&d=1" target="_blank">
> https://sites.google.com/site/cdslilypond/docs/display-dim-fretboards.pdf?a
> > >
> > > ttredirects=0&d=1>
> > >
> > >
> > >
> > > or view it at
> > >
> > >
> > >
> > >
> https://sites.google.com/site/cdslilypond/docs/display-dim-fretboards.pdf>
> > >
> > >
> > >
> > > Please comment.
> > >
> > >
> > >
> > > Thanks,
> > >
> > >
> > >
> > > Carl
> > >
> > >
> > >
> > >
> > >
> > > ___
> > >
> > > lilypond-user mailing list
> > >
> > > lilypond-user@gnu.org
> > >
> > > http://lists.gnu.org/mailman/listinfo/lilypond-user
> > >___
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> > lilypond-user@gnu.org
> > http://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
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Re: Openoffice import?

[bart deruyter]

Hi,

just wondering... why open office for DTP... It's a word-processor, not a
DTP program.Use scribus instead, has renderframes that generate lilypond
code, hell you can even write lilypond coded within scribus itself, and tex
and pov...

grtz,
Bart
http://www.bartart3d.be/


2011/6/3 David Kastrup 

> Martin Tarenskeen  writes:
>
> > Hi,
> >
> > Topic-related:
> > I have tried installing and using OooLilypond with LibreOffice on
> > Fedora 15. Works perfectly.
>
> I took a look at both the resulting PDF and the resulting odt file on
> their webpage.  If you zoom the files, you'll see staircased graphics
> and texts.
>
> In short: again there is a conversion into bitmaps involved that
> apparently makes the output resolution dependent.  As an intermediary
> for pulling into a DTP, this is not good.
>
> So currently I don't see a reasonably working and obvious (let alone
> automatic) way for creating a full-quality DOC file from lilypond-book
> (or just Lilypond) sources using free software.  Perhaps a lilypond-book
> backend working in conjunction with latex2rtf or other contraptions
> might be a good idea.
>
> --
> David Kastrup
>
>
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Re: error compiling files

[bart deruyter]

Compilation seems to have worked, the pdf should be where you saved your .ly
file. It seems like you saved it in the desktop directory, so, it should be
right in front of you, on the desktop. In ubuntu it is compiled in the same
directory as the .ly file at least.. I don't know about mac.

grtz,
Bart
http://www.bartart3d.be/


2011/6/22 Travis Gould 

>  Hello,
>
> I am brand new to Lilypond and have just spent 90 minutes trying to figure
> out how to get a simple piece of input (anything) to convert over and be
> displayed as a .pdf file.  I've tried copying bits from the welcome text
> document into a new file and then clicking on "Compile" then "Typeset file"
> and I've tried typing in the various simple examples that are shown in the
> tutorials, but what keeps happening (no matter what I've typed into the text
> document) is this:
>
>
>
> Processing `/Users/travisgould/Desktop/bob's happy day.ly'
> Parsing...
> /Users/travisgould/Desktop/bob's happy day.ly:0: warning: no \version
> statement found, please add
>
> \version "2.14.1"
>
> for future compatibility
> success: Compilation successfully completed
>
>
>
> I've tried adding the \version "2.14.1" command to the text document in
> various ways and places, but the same message keeps coming up when I try to
> compile the document.  I'm using a MacBook with OS X version 10.5.8.  Any
> help or direction would be greatly appreciated.  Thanks for your time and
> for creating lilypond and making it available for free!
>
> -Travis Gould
>
>
>
>
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jazz chords fretboards

[bart deruyter]

Hi all,

I'm starting to learn Jazz guitar on my own, well, with a friend of mine
who'd be singing. I have no teacher, but I've noticed there are many, many
resources on the net.
I've found this
pdf,
which could be handy for learning the chords.
I've got some lead-sheets, but they do not show fretboards. As a beginner
I'd like to add them, rewriting the score. I've noticed the
predefined-fretboards.ly show one position of a chord in fretboard, so I
thought it would be a good idea to create a similar file, that would contain
the different positions of the chords.

But of course, since there is lilypond, and I suspect there must be
jazz-guitar players around that use lilypond, I was wondering if there isn't
such a file already. So, if there is somebody around who would be willing to
share his/her work, it would save me, and I expect others too, tons of time.

greets,
Bart

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rendering png without page

[bart deruyter]

Hi all,

I'm using the latest stable verision of lilypond , 2.14.1. now creating the
final version of my guitar book. I was wondering if it is possible to output
.ly files to png's without page. I mean without white background, margins,
etc.. files in which no white-space surrounds, or is within the score. I
also mean, an output in which all white that is from the background is
transparent. Only the score should be outputted.

I'd like this very much because then I can easily align the pieces of music
as images within the text. Transparency would make it possible to use the
output on differently coloured images too.

Using svg as output can solve it partially, but I still need to resize the
svg image to the piece of score, and in my opinion it's still a step too
much. It does take too much time if it can be automated while rendering the
png with a simple command line option, certainly in my case, having a large
amount of small pieces of music for in an educational book.

By the way, using lilypond --svg results in a ps... using lilypond -fsvg
too, and only with -dbackend=svg I get an svg, on my system at least. Why
making it so difficult? Stick to one option, makes it much easier.

I used to use the framesets in scribus to render lilypond code, very
usefull, and very handy, but after about 20 pages it takes too much
rendering for scribus to handle. That's why I'd like to use png's.

Greets,
Bart Deruyter

http://www.bartart3d.be/
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Re: lilypond-book download

[bart deruyter]

I had the same 'problem'.. It is indeed not that easy. That's why I now
tried the latest Lyx version, which includes the possibility to include
lilypond code, and it uses, as far as I know, lilypond-book as backend, but
it is hidden, so no command line is needed. Perhaps you could give that a
try..
grtz,
Bart

http://www.bartart3d.be/


2011/8/30 Pablo Zumarán 

>
> Thanks!
>
> I'm having trouble understanding something. In Item 4 of "GNU Lilypond –
> Application Usage", under the heading "Integrating Text and Music", it
> explicitly says this "lilypond-book provides a way to automate this
> process:
> This program extracts snippets of music from your document, runs lilypond
> on
> them, and outputs the document with pictures substituted for the music."
> According to this, LilypondBook is a "program". I'm new to command-line
> usage, so that might be why this confuses me. Is it not a stadalone
> program?
>
> I wish the Lilypond site had complete examples to study from, rather than
> just specific examples meant to be understood only by experienced
> command-line users who would know where to apply them. I have TeXMaker,
> TeXWorks, TeXLive, eMacs, GNUTeXmacs, have tried to get a pdf file with
> text
> and music from all of them without success. I've no idea, for instance, how
> to make TeXMaker understand a Lilypond command; or what program to use
> TexXInfo on, or even whether TeXInfo is itself a program.
>
> Could you tell me whether there are complete examples somewhere which I
> could study from?
>
> Thanks again!
>
>
> Reinhold Kainhofer wrote:
> >
> > Am Dienstag, 30. August 2011, 16:01:01 schrieb Dmytro O. Redchuk:
> >> On Mon 29 Aug 2011, 11:43 Pablo Zumarán wrote:
> >> > I already have lilypond in my Ubuntu. What must I download so that I
> >> can
> >> > use lilypond-book?
> >>
> >> You need to have latex (texlive-latex-base at least) installed.
> >
> > Only if you want to process latex files with lilypond-book. If you want
> to
> > process html files, you don't need anything else. If you want to process
> > texinfo files, apparently you need texinfo (which in turn depends on
> > latex).
> >
> > Cheers,
> > Reinhold
> > --
> > --
> > Reinhold Kainhofer, reinh...@kainhofer.com,
> http://reinhold.kainhofer.com/
> >  * Financial & Actuarial Math., Vienna Univ. of Technology, Austria
> >  * http://www.fam.tuwien.ac.at/, DVR: 0005886
> >  * LilyPond, Music typesetting, http://www.lilypond.org
> >
> >
> > ___
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> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
> >
> >
>
> --
> View this message in context:
> http://old.nabble.com/lilypond-book-download-tp32359182p3235.html
> Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
>
>
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hiding fret numbers in score

[bart deruyter]

Hi all,

i've got a tricky thing, and I don't find the solution. I have been browsing
through the snippets, but none seems to suit my needs.

I have a score for guitar, with a staff with notes, and a tab staff. To
adjust the tab notation (e.g. f on 6th fret on second string, instead of
first fret on first string), I changed the string number in the staff with
notes. That works perfectly, though the string numbers show up in the score.
It looks quite ugly, since I have to add string numbers to all notes for
which I have another position then the default ones lilypond outputs for the
tab staff. So now the question. Is there another way to change the tab staff
notation, or can I somehow hide the string numbers in the staff with the
notes?

Thanks,

Bart
http://www.bartart3d.be/
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Re: Re: hiding fret numbers in score

[bart . deruyter]

Hey thanks,

a very efficient fix :-).

grtz,
Bart



Op schreef Thomas Morley :

2011/10/2 bart deruyter bart.deruy...@gmail.com>



Hi all,


( ... ) or can I somehow hide the string numbers in the staff with the  
notes?





Thanks,



Bart



Hi Bart,



try
\override StringNumber #'transparent = ##t
or
\override StringNumber #'stencil = ##f
to hide the StringNumber.



Cheers,



Harm






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Re: ANN: Frescobaldi 1.9.5, last beta before 2.0.0

[bart deruyter]

it is difficult to get the pdf preview to work in ubuntu indeed.

Now trying to get python-poppler to work too.. wich has another series of
dependencies... Too bad it isn't in the repositories yet. I don't know how
to get it to end up in the repositories, but it would be very useful.

I hope it'll work, 'cause I really loved frescobaldi so far :-D

grtz,

Bart
http://www.bartart3d.be/


2011/12/23 Wilbert Berendsen 

> Op Thu, 22 Dec 2011 21:35:13 +0100
> Phil Hézaine  schreef:
>
> > Above all I have to launch timidity in a terminal:
> >   timidity -iA
>
> You could launch timidity automatically on login or startup. A feature
> to auto-start-up a MIDI soft-synth from inside Frescobaldi is under
> consideration.
>
> > If for one reason the midi port has changed in 1. or 2. you have to
> > reset the Preferences.
>
> You can enter only the first part of a MIDI port name:
>
> e.g. simply "Timidity" which then will select the first available port
> with that name. (The What's This info in the dialog tells that.)
>
> But it would not be difficult at all to support e.g. pyrtmidi instead
> of portmidi. Even supporting both would be possible.
>
> Thanks for the positive feedback!!
> Wilbert
>
> --
> Wilbert Berendsen
> (http://www.wilbertberendsen.nl)
>
>
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Re: Guitar tab with only numbers

[bart deruyter]

Your examples do show bars though, and I never have stems in my tabs using
default lilypond syntax, nor rests or circles.. only numbers, but the bars
are there, like in your examples

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2012/11/12 Mate 

> Hi,
>
> I am trying to have standard notation + guitar tab where the tab only
> contains
> (fret) numbers. No stems, no bars, no rests, no dots, no circles, nothing.
>
> Like here:
> http://www.music-for-music-teachers.com/images/devils-dream.gif
>
> Or here:
> http://www.jazzguitar.be/images/lessons/gypsy-jazz.gif
>
> Interestingly, if I look at some snippets in the snippet repository, the
> images
> that are shown are just like that:
> http://lsr.dsi.unimi.it/LSR/Item?id=634
> http://lsr.dsi.unimi.it/LSR/Item?id=495
>
> The problem is that when I try to render the examples myself, I get the
> stems
> and bars on the tab line too.
>
> Do I have to set something somewhere (that the mentioned snippets don't
> contain)?
> Or were the tab stems removed by default after version 2.12.3 (the version
> I'm
> using)?
>
> What I've tried is:
>
> \override Stem #'transparent = ##t
>
> but it doesn't remove rests and dots, and generates a lot of warnings. So
> it's
> probably not the right track.
>
> Thanks,
>
> Mate
>
>
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tabulatures and stems

[bart deruyter]

Hi,

I have recently started using lilypond, but there are some things that don't
seem ok. Following the documentation I started writing a tabulature for
guitar. The documentation shows the fret numbers and stems, but when I copy
and paste the code in frescobaldi, the generated output does not show stems.

The problem was first the svg export. In order to get correct svg's (I need
them for editing them for graphical elements in a book I'm writing), I
installed version 2.13.32. Seeing examples on the lilypond site about the
differences between 2.12 and 2.13 versions, I see that there are no stems on
the 2.13 examples either. How do I add them anyway? Is this feature broken,
or do I add some extra code to add stems to the tabulature, and if so, which
code? If it is broken, which version do I need to install to get correct svg
output and stems in the tabulature?

greets,
Bart

http://www.bartart3d.be/
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Merging rests

[bart deruyter]

Hi,

I have found a way to merge rests when there are two voices on one stave,
but which evolve as one voice, to limit clutter on the score on this page :
http://lsr.dsi.unimi.it/LSR/Item?id=336 .

It is very usefull indeed, but isn't there a more general way to merge
rests. It's a lot of code for a task, that I think is often needed. This
code is limited to two voices, but I already have a score laying around here
with three voices. I know about hiding rests, but then I'll have to change
the position of the remaining rests to the center of the staff, like the
example of the snippet shows. I'm quite a beginner, so I think that's pretty
advanced stuff already.

Any ideas for an alternative to the snippet?

Greetz,
Bart

http://www.bartart3d.be/
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Re: Parallel Square Premusic

[bart deruyter]

Hi all,

has nobody here visited his website? I took the risk :-).
it will save a lot of typing-time.

grtz,
Bart

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2017-03-23 9:53 GMT+01:00 David Kastrup :

>  writes:
>
> > You want whitespace in your parallel squares?
> >
> > Don't you think that's akin to demanding a hexadecimal file include
> > space in between each digit? Wouldn't it be smarter to delegate the
> > spacing task to programs optimized for a square environment, as hex
> > editors are optimized for a hexadecimal environment, yet leave the
> > output file alone? You're essentially asking me to multiply the
> > filesize by 3/2 so that you can entertain this notion that G5G5G5 is
> > somehow more difficult to register as a series of letter note names
> > followed by their octave number in scientific pitch than is G5 G5
> > G5. There will never be a letter in the second column or a number in
> > the first. Why is this so complicated?
>
> Punch cards seem to the best medium for your format.  Not just that they
> are rigidly column-based, but you'll also easily distinguish letters
> from digits by the former having additional holes in a separate area
> punched as opposed to the latter: no need to rely on vague visual cues
> for telling "S" from "5".  And you can even pick differently colored
> cards for pitches and rhythms as an additional help to the executioner,
> and preprint cards with grids making it trivial to see the square letter
> boundaries.
>
> --
> David Kastrup
>
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Re: markup circle and sub

[bart deruyter]

Hey,

I found that this works:

\version "2.19.62"
\mark \markup  \box {\concat {A \sub 1}}

grtz,
Bart

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2017-11-10 10:11 GMT+01:00 Gianmaria Lari :

> This code works well and create a rehearsal mark in a box
>
> \version "2.19.80"
> \mark \markup {*\box {A1}*}
>
>
>
>
> Now I would like the same except for the number that should be in
> subscript. What I should do? I tried this but does not work (it writes A
> and 1 in two different boxes):
>
> \version "2.19.80"
> \mark \markup {\box {*A \sub 1*}}
>
>
> Thank you, g.
>
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Re: Hammer-on and pull-off

[bart deruyter]

Hi,

in my experience there seems to be a difference in notiation between
classical music for gutiar and popular music. So far I have never seen H or
P in scores for classical guitar, but sometimes in educational books.

On the other hand I have sometimes seen it in sheet music for popular
music, mainly in the tabulature but sometimes in the actual score too.

HTH,

Bart

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2017-12-22 15:19 GMT+01:00 Menu Jacques :

> Hello folks,
>
> The LPNR states that:
>
> Hammer-on and pull-off can be obtained using slurs.
>
> \new TabStaff {
>   \relative c' {
> d4( e\2)
> a( g)
>   }
> }
>
>
> Is that the regular way to write such fretted strings instruments music,
> or is sometimes an H or P placed between the two notes, as Finales does
> (see attached image)?
>
> Thanks for your help!
>
> JM
>
>
>
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fisisis impossible?

[bart deruyter]

Hi all,

got in a situation, trying to describe the bis augmented chord in second
inversion, which would contain fisisis in a slashed chord name.

Lilypond returns an error, unexpected symbol, expecting tonicname pitch,
which makes me believe that lilypond does not know triple sharps (isisis).

Am I right? Are there solutions for this?

using version 2.19.65 here.

I'm making a list of guitar chord diagrams of triads, and their inversions
for my students. Using an enharmonic equivalent would fail in showing the
logic behind the structure of chords, so that wouldn't work for me.

grtz,
Bart


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Re: fisisis impossible?

[bart deruyter]

The "why" is described in my mail: showing the logic behind the structure
of chords.

grtz,
Bart

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2018-03-10 21:33 GMT+01:00 Ben :

> On 3/10/2018 3:20 PM, bart deruyter wrote:
>
> Hi all,
>
> got in a situation, trying to describe the bis augmented chord in second
> inversion, which would contain fisisis in a slashed chord name.
>
> Lilypond returns an error, unexpected symbol, expecting tonicname pitch,
> which makes me believe that lilypond does not know triple sharps (isisis).
>
> Am I right? Are there solutions for this?
>
> using version 2.19.65 here.
>
> I'm making a list of guitar chord diagrams of triads, and their inversions
> for my students. Using an enharmonic equivalent would fail in showing the
> logic behind the structure of chords, so that wouldn't work for me.
>
> grtz,
> Bart
>
>
> Triple sharps? For a classroom chord chart? Just curious, but why?
>
> http://lilypond.1069038.n5.nabble.com/Triple-b-or-do-
> they-exist-td55106.html
>
>
>
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Re: fisisis impossible?

[bart deruyter]

Hey,

thanks for the info :-) .

I thought about something like that, but now how to get that in
"\chordmode". I make a \chordmode entry for both the chord names and the
diagrams, looks like this would only work on notes.

I know it is a rare situation in which triple sharps and flats are used.

But out of curiousity I looked at the the big shots: finale handles it
without any problem for quite a while (just read a post from 2013:
https://forum.makemusic.com/default.aspx?f=6&m=404097),
and sibelius made it easier (but it was possible earlier) only since 2017
in an update of a plugin (
http://www.sibelius.com/download/plugins/index.html?plugin=411).

So I guess the demand for handling them is there, or they wouldn't develop
it for sure.

grtz
Bart

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2018-03-10 22:08 GMT+01:00 Noeck :

> Hi Bart,
>
> fisisis is not part of the input language (of any defined input
> language). So from this technical point, it can't work.
>
> I wanted to write that there is no symbol for it. But then I found this:
> http://dictionary.onmusic.org/terms/3687-triple_sharp
>
> > Etude no. 10 from Douze etudes dans tous les tons mineur, Op. 39 (1857),
> by Charles-Valentin Alkan.
>
> You can make a fisis look like a fisisis by this override (which can
> surely be made more elegant or turned into a tweak):
>
> \version "2.19.80"
>
> isisis = {
>   \once \override Accidental.stencil = #ly:text-interface::print
>   \once \override Accidental.text = \markup {
> \concat {
>   \musicglyph #"accidentals.sharp"
>   \musicglyph #"accidentals.doublesharp"
> }
>   }
> }
> \relative {
>   \isisis fisis'
> }
>
> It's not impossible that these triple-accidentals could be added to both
> the input language and the music font. However, I am not convinced that
> it should be used :)
>
> Best,
> Joram
>
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altering stem length of tuplets

[bart deruyter]

Hi all,

I'm trying to figure out how to alter the stem length of tuplets. I've
tried \override Stem #'length = #1 for example. It did not work. The piece
contains 3 voices, and it is the stem length of second voice I'm trying to
change.

The explanation on 'Altering the length of beamed stems'  in the snippets
did not seem to work either, : e.g.: \override Stem.details.beamed-lengths
= #'(2)

There is very little space between the middle and lowest voice. Using the
last method, I get some effect, but random, when I increase the number the
stems can get shorter, or longer, as if lilypond tries to override the
override to avoid collisions.

Is there a specific method for tuplets to change the stem length? So far I
haven't found it.

Using lilypond 2.17.95


grtz,

Bart

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Re: altering stem length of tuplets

[bart deruyter]

Noeck,

thank  you, that did the trick :-) . Adding to snippets in frescobaldi :-D

grtz,

Bart

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2013/12/4 Noeck 

> If you don't mind setting explicit beam positions, you probably could go
> with:
>
> \override Beam #'positions = #'(-2 . -2) % adjust the numbers
>
> Joram
>
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guitar position indication

[bart deruyter]

Hi all,

I'm working on a piece for guitar here where in some parts I want to show
the position it is played in (e.g. IV, forth position) .

I know I have to use textspanners for this, but this is intended for
'spanning over a melody'. What should be used if there is only one note?

Instinctivly I thought I should use text marks, but those result in
differently formatted text (size, italic, weight, etc.. ) I can of course
try and tweak the formatting of these text marks, but isn't there
consistent way of indicating a position, without having to rely on spanners?

grtz,

Bart


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Re: guitar position indication

[bart deruyter]

Thanks for the tips, Simon's solution seems to be the best. Thank you very
much :-D .

@David Kastrup:
I didn't know \endSpanners. It's an interesting solution, but it adds a
spanner line up to the next note in my case. At least here it does with
lilypond 2.17.97. I read in the manual it should not though, or am I
reading it wrong?

"The music function \endSpanners terminates the spanner which starts on the
> immediately following note prematurely. It is terminated after exactly one
> note, or at the following bar line if to-barline is true and a bar line
> occurs before the next note."


No barline before the next note here though.

It should show no spanner line at all, only the position number, so it will
be Simon's solution I guess.

grtz,

Bart

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2013/12/18 Simon Bailey 

>
> On Wed, Dec 18, 2013 at 3:59 PM, David Kastrup  wrote:
>
>> bart deruyter  writes:
>>
>> <...SNIPPETY SNIP...>
>>
>> > consistent way of indicating a position, without having to rely on
>> spanners?
>>
>> What's wrong with spanners?
>>
>> You know about \endSpanners ?
>>
>
> THAT is a cool trick. 10 years of lilypond and i'm still learning new
> little gems :D
>
> --
> Do not meddle in the affairs of trombonists, for they are subtle and quick
> to anger.
>
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Re: Guitar-Schubert

[bart deruyter]

Wow,

nice, thank you very much indeed.

grtz,

Bart

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2013/12/21 Mario Moles 

>  Schubert for guitar ansemble!
>
> http://mariomoles.altervista.org/schubert/
>
>
> --
>
> oiram/bin/selom
>
> Da ognuno secondo le proprie capacità ad ognuno secondo i propri bisogni.
>
> MIB-kernellinux-tester
>
> http://mariomoles.altervista.org/
>
> Linux 
>
> MIB  Lilypond 
> Frescobaldi  
> Rosegarden
>
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Re: guitar position indication

[bart deruyter]

hi,

I've tried the solution from Simon, works very well, with one minor point.
In frescobaldi, when rendering with the option to have controlepoints
enabled, I get errors and rendering stops.

rendering without control points works fine.

according to the lilypond output the error occurs in:

/usr/local/lib/python2.7/dist-packages/frescobaldi_app/preview_mode/display-control-points.ily:108:37<1>:
Wrong type to apply: (#
(# (# (# "II"


a bug?


grtz,


Bart

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2013/12/18 Simon Bailey 

> On Wed, Dec 18, 2013 at 5:12 PM, bart deruyter wrote:
>
>> Thanks for the tips, Simon's solution seems to be the best. Thank you
>> very much :-D .
>>
>
> you're welcome. i'll be needing this function in the next month or so, so
> it didn't hurt that you asked... :D
>
>
>> @David Kastrup:
>> I didn't know \endSpanners. It's an interesting solution, but it adds a
>> spanner line up to the next note in my case. At least here it does with
>> lilypond 2.17.97. I read in the manual it should not though, or am I
>> reading it wrong?
>>
>> "The music function \endSpanners terminates the spanner which starts on
>>> the immediately following note prematurely. It is terminated after exactly
>>> one note, or at the following bar line if to-barline is true and a bar
>>> line occurs before the next note."
>>
>>
>> No barline before the next note here though.
>>
>
> correct usage, which works for me:
> <<<
>\once \override TextSpanner.bound-details.left.text = \markup
> \normal-text \bold \large "VII"
>\once \override TextSpanner.to-barline = ##t
>\endSpanners a1\startTextSpan
>d1
> >>>
>
> It should show no spanner line at all, only the position number, so it
>> will be Simon's solution I guess.
>>
>
> The documentation says it ends the TextSpanner at the next note. The
> TextSpanner includes the line, so the line is continued until the next
> NoteColumn (or bar-line if you set TextSpanner.to-barline = ##t). You won't
> see the line on short note durations, depending on the size of your markup,
> but on long notes, you will.
>
> If you don't want the line, then it's probably simpler (and less typing)
> to use markups.
>
> regards,
> sb
>
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Re: guitar position indication

[bart deruyter]

Federico, thanks for the info.

I just tried it, compiled the file but I get the same error.

grtz,

Bart

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2013/12/23 Federico Bruni 

> 2013/12/23 bart deruyter 
>
>> according to the lilypond output the error occurs in:
>>
>>
>> /usr/local/lib/python2.7/dist-packages/frescobaldi_app/preview_mode/display-control-points.ily:108:37:
>> Wrong type to apply: (#
>> (# (#> (layout props arg)> (# "II"
>>
>>
>> a bug?
>>
>
> this is a frescobaldi error
> you are using the new layout control options introduced by Urs.. try to
> update from git and recompile it
>
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Re: guitar position indication

[bart deruyter]

Urs,

no problem, I have what I've got in attachment here, and the second file
added is a file as reusable library of stuff, including things I've learned
in this conversation. The cause of the error could be in there too.

I've now tried to render the sample code of Simon with control points, and
it works fine. I did add some slurs to get to control points of course :-).

So it is something else that causes the error I guess.

grtz, and thanks for looking into it.

Bart

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2013/12/23 Urs Liska 

> Am 23.12.2013 15:18, schrieb Federico Bruni:
>
>  2013/12/23 bart deruyter 
>>
>>  Federico, thanks for the info.
>>>
>>> I just tried it, compiled the file but I get the same error.
>>>
>>>
>> can you compile the lilypond file "normally", without any layout control
>> option?
>> anyway, you'd better write to the frescobaldi mailing list (unless Urs
>> jumps in this thread)
>>
>>
> OK, I jump in, but I saw it merely by accident because I'm not interested
> in guitar position indications normally ;-)
>
> Bart, could you please send either the problematic file or at least a few
> lines before and after the error?
>
> I have also experienced cases where the display-control-points option
> interfered with my files (but we dismissed this as a problem because we had
> very similar functionality in the library of that project and thought it's
> probably due to this).
>
> Somehow it looks like you are trying to display control-points for a
> markup function, which wouldn't work, so I'd like to have a look at the
> actual context you are using.
>
> Urs
>
>
>
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\version "2.17.97"
% Spanner layout
spanner = {
  \once \override TextSpanner.bound-details.left.stencil-align-dir-y = #DOWN
  \once \override TextSpanner.dash-period = #1
  \once \override TextSpanner.style = #'line
  %\once \override TextSpanner.dash-fraction = #0.35
  \once \override Staff.TextSpanner.staff-padding = #3
}

% Position indicators
indic-pos = \once \override Staff.TextScript.staff-padding = #3
first = \markup \normal-text \roman \bold \large "I "
second = \markup \normal-text \roman \bold \large "II "
third = \markup \normal-text \roman \bold \large "III "
forth = \markup \normal-text \roman \bold \large "IV "
fifth = \markup \normal-text \roman \bold \large "V "
sixth = \markup \normal-text \roman \bold \large "VI "
seventh = \markup \normal-text \roman \bold \large "VII "
eighth = \markup \normal-text \roman \bold \large "VIII "
ninth = \markup \normal-text \roman \bold \large "IX "
tenth = \markup \normal-text \roman \bold \large "X "
eleventh = \markup \normal-text \roman \bold \large "XI "
twelfth = \markup \normal-text \roman \bold \large "XII "

% Barré positions
barreI ={ \spanner \override TextSpanner.bound-details.left.text = \markup \first }
barreII ={ \spanner \override TextSpanner.bound-details.left.text = \markup \second  }
barreIII ={ \spanner \override TextSpanner.bound-details.left.text = \markup \third }
barreIV ={ \spanner \override TextSpanner.bound-details.left.text = \markup \forth }
barreV = { \spanner \override TextSpanner.bound-details.left.text = \markup \fifth }
barreVI = { \spanner \override TextSpanner.bound-details.left.text = \markup \sixth }
barreVII = { \spanner \override TextSpanner.bound-details.left.text = \markup \seventh }
barreVIII = { \spanner \override TextSpanner.bound-details.left.text = \markup \eighth }
barreIX = { \spanner \override TextSpanner.bound-details.left.text = \markup \ninth }
barreX = { \spanner \override TextSpanner.bound-details.left.text = \markup \tenth }
barreXI = { \spanner \override TextSpanner.bound-details.left.text = \markup \eleventh }
barreXII = { \spanner \override TextSpanner.bound-details.left.text = \markup \twelfth }

%Right hand fingering
RHp = \rightHandFinger #1
RHi = \rightHandFinger #2
RHm = \rightHandFinger #3
RHa = \rightHandFinger #4

%Position of left hand fingering

LHleft = \set fingeringOrientations = #'(left)
LHright = \set fingeringOrientations = #'(right)
LHup = \set fingeringOrientations = #'(up)
LHdown = \set fingeringOrientations = #'(down)

%Position of string numbers
Sleft= \set stringNumberOrientations = #'(left)
Sright = \set stringNumberOrientation

Re: guitar position indication

[bart deruyter]

Hey,

thanks :-), it did the trick indeed, I renamed to firstpos, secondpos,
etc...

with all those libraries, creating namingconventions becomes critical,
certainly when the editor adds more functionality.

I didn't even know frescobaldi adds this functionality with built-in
lilypond code. I'm not a programmer, maybe I'm thinking wrong, or I don't
grasp the concept yet, my last use of coding (php) has been about a year
ago, but couldn't this be avoided by using a namespace, specific for the
lilypond code used by frescobaldi?

grtz,

Bart



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2013/12/23 Thomas Morley 

> Hi Bart,
>
> 2013/12/23 bart deruyter :
> > Urs,
> >
> > no problem, I have what I've got in attachment here, and the second file
> > added is a file as reusable library of stuff, including things I've
> learned
> > in this conversation. The cause of the error could be in there too.
>
> it is.
> control-points are coded using the scheme prcedures first, second,
> third, fourth.
> You redefine them in your guitar-stuff.ly. Can't work.
> Quick fix would be to change the namings in guitar-stuff.ly and BWV.ly
> to frst, scnd, thrd, frth.
> I've tested it, works.
>
> @Urs
> To avoid further hassle I'd suggest to change the namings in the
> control-points code:
>
> first - car
> second - cadr
> third - caddr
> fourth - cadddr
>
>
> HTH,
>   Harm
>
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music in footnote

[bart deruyter]

Hi all,

I'd like describe in my score how to play certain ornametns by adding the
way to play it in a piece of music, shown as a footnote. I find some
explanation about how to create footnotes, but in the manual I've found
only explanations with text as footnote.

I've tried this for example:


footnoteOne= \relative c'{

a16 b a fis

}

music = \relative c'{

\footnote #'(0 . 3) \footnoteOne g4

}



Also, as far I've seen in sheet music here, I most often see a simple "1)"
(without quotes) as a reference to a footnote, right above the note in
question, without the line pointing to the footnote number. So I'm guessing
my terminology is not quite right, and perhaps, I'm looking for the wrong
way to do it, perhaps it isn't a 'footnote' as such in a score when a piece
of music is in the footnote, or was I right all along, is it just a matter
of markup, and can someone point me into the right direction on how to
achieve it?


thanks,


Bart



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Re: music in footnote

[bart deruyter]

Thanks Nick,

worked as a charm, glad to see I was on the right track :-D, it didn't work
at first because I didn't use a score block.

switched to automatic numbering though, since I've got several different
ornaments I'd like to explain in the score.
Now figuring out how to add a a closing bracket, to get to this
automatically generated number  to "1)" to make it clear it is a footnote
number.

grtz,

Bart



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2013/12/28 Nick Payne 

>  On 29/12/13 08:23, bart deruyter wrote:
>
> Hi all,
>
>  I'd like describe in my score how to play certain ornametns by adding
> the way to play it in a piece of music, shown as a footnote. I find some
> explanation about how to create footnotes, but in the manual I've found
> only explanations with text as footnote.
>
>
> This is what I've used in the past:
>
> %===
>
> \version "2.17.29"
>
>
>  \paper {
>
> #(set-paper-size "a6")
>
> }
>
>
>  \relative c'' {
>
> \footnote \markup\huge { * } #'(-2 . 2) \markup {
>
> \lower #0.8 { \super { * } }
>
> "Execute all ornaments shown as " \raise #0.5 \musicglyph #"scripts.prall"
>
> \translate #'(-0.5 . 0) "thus:" \raise #0.5
>
> \score {
>
> \new Staff \with {
>
> \remove "Time_signature_engraver"
>
> fontSize = #-3
>
> \override StaffSymbol.staff-space = #(magstep -3)
>
> \override StaffSymbol.thickness = #(magstep -3)
>
> firstClef = ##f
>
> }
>
> \relative c'' {
>
> \slurDashed
>
> \appoggiatura { e16[ d e] } d4
>
> }
>
> \layout {
>
> indent = 0\cm
>
> ragged-last = ##t
>
> }
>
> }
>
> } NoteHead
>
>  d4\prall
>
> }
>
> %===
>
>
>
>
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footnotes, next instead of underneath each other

[bart deruyter]

Hi all,

here I am again. I just read in the manual that it isn't possible
(hopefully yet) to stack footnotes horizontally. With some music in the
footnote it would be very much appreciated if it were possible, to save
space on the page for the actual score.

Anyway, is there an alternative to footnotes that would make it possible?
What would be best practice to handle this?

grtz,

Bart

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Re: footnotes, next instead of underneath each other

[bart deruyter]

Thanks David, but what do you mean with
'factor out the hard-coded page builder?' I have no clue what that is
about, scheme? Never worked with it before.

I think horizontally stacking of footnotes is very useful, I'll add it to
the feature requests (my first :-) ).

Grtz,

Bart

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2013/12/29 David Kastrup 

> bart deruyter  writes:
>
> > Hi all,
> >
> > here I am again. I just read in the manual that it isn't possible
> > (hopefully yet) to stack footnotes horizontally. With some music in the
> > footnote it would be very much appreciated if it were possible, to save
> > space on the page for the actual score.
> >
> > Anyway, is there an alternative to footnotes that would make it
> > possible?
>
> No.
>
> > What would be best practice to handle this?
>
> Factor out the hard-coded page builder.
>
> --
> David Kastrup
>
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Re: What should be the default B7 chord?

[bart deruyter]

my vote: second.

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2014/1/12 David Kastrup 

> Eluze  writes:
>
> > Carl Sorensen-3 wrote
> >> There has been a difference of opinion on why the default B7 guitar
> chord
> >> shape should be.  I'm making a poll to determine what the users would
> >> prefer.
> >>
> >> Would you like the first chord in the attachment (barred on fret 2) or
> the
> >> second chord (open chord in first position)?
> >
> > why not barred on fret 7 - it's easy to play (at least easier than your
> 1st
> > example), you can strum all strings and in many cases it fits better.
>
> Ah, the "Only E should be admitted to the barr" or "One chord, one
> world" school particularly popular with electric guitar players...
>
> --
> David Kastrup
>
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page-count

[bart deruyter]

Hi all,

I have a project here, consisting of several exercises for guitar. There
are a lot of technical exercises, all having several scores with one staff
of length.

I now work with several .ly files, and I include them in one 'master'
document.

Now I try to get 10 scores of one staff on one page in the child.ly files
to have them as seperate pdf's to print too. I manage this by using
page-count = 1 in the '\paper' block.

When I include for example 2 of these child-files, in the master-file,
lilypond tries to force 20 scores on one page, because of the 'paper'
-block'in the child.ly files, which doesn't work out well of course.

Is there a way to have a one-page count on each separate child-file, while
leaving that out in the master-file? Or what would be 'best-practice' to
achieve this?

grtz,

Bart

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Re: page-count

[bart deruyter]

Thanks for the tips :-) . I noticed that the title of the first bookpart
got printed in the header of the second bookpart, when there wasn't a new
title defined. I chose not to print the title, and used:

title =""

in the subsequent headers of the bookparts

Which worked perfectly :-)

grtz,

Bart

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2014-02-01 Federico Bruni :

> 2014/1/30 Federico Bruni 
>
>>
>> Il 30/gen/2014 15:57 "bart deruyter"  ha
>> scritto:
>>
>> >
>> > Is there a way to have a one-page count on each separate child-file,
>> while leaving that out in the master-file? Or what would be 'best-practice'
>> to achieve this?
>> >
>>
>> I would wrap the \score blocks inside \bookpart and use the \paper within
>> the bookpart to set one page.
>>
>> The master file which includes the child files will be implicitely in the
>> \book level, so it will have its own \paper block.
>>
>> HTH
>> Federico
>>
> Minimal example:
>
> \version "2.18.0"
>
> \book {
>   % paper setting affecting all the bookparts
>   \paper {
> indent = 0
> markup-system-spacing = #'((padding . 10))
>   }
>
>   \bookpart {
> \paper {
>  page-count = 1
> }
> \header {
>   title = "Piece One"
> }
> \score {
>   \new Staff {
> \repeat unfold 15 { c'1*4 \break }
>   }
> }
>   }
>
>   \bookpart {
> \paper {
>   page-count = 1
> }
> \header {
>   title = "Piece Two"
> }
> \score {
>   \new Staff {
> \repeat unfold 15 { c''1*4 \break }
>   }
> }
>   }
> }
>
>
>
>
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Re: page-count

[bart deruyter]

ok, I found it, it was not the header of a \book .

In the 'master' document in which I include the child-files I have a header
file, which is not in a \book , but just a regular \header like for a
single score, in which I had a title="Studie" line. That one got repeated
as title on the different \bookparts.

I don't know if that is the intended result, because it was not in a \book
in the master document. If it is, everything is ok :-). I now deleted the
'title="Studie' from the header of the main file and have it set only in
the first \bookpart, which seems to work.

Grtz,

Bart

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2014-02-01 Federico Bruni :

> 2014/2/1 bart deruyter 
>
>> Thanks for the tips :-) . I noticed that the title of the first bookpart
>> got printed in the header of the second bookpart, when there wasn't a new
>> title defined. I chose not to print the title, and used:
>>
>> title =""
>>
>> in the subsequent headers of the bookparts
>>
>
> mmh, strange: it doesn't happen here.. it would be a bug if it did
> I think that the header of your first bookpart is not in a \bookpart but
> in a \book
>
>
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piece title

[bart deruyter]

Hi all,

in my project here, I use lot's of small parts of music, and they're
numbered using "piece" in each header of each score.

The "piece" title seems by default to be aligned in height to the highest
note, which causes the piece title to collide with the clef when the music
is going into the lower regions.

I can adjust it using markup, and \raise, but is there a more general way
to fix it, for example by telling lilypond somehow to align the piece title
to the clef instead of to the notes?

thanks in advance,

Bart Deruyter

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Re: piece title

[bart deruyter]

Hi,

In the image you see the first score has a piece title which has not been
adjusted, the second one is. The reason why the piece title is colliding,
is because it is aligned to the music, not to the clef.

grtz,
Bart

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2014-02-21 15:05 GMT+01:00 Phil Holmes :

>  Could you provide an example illustrating the problem?
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* bart deruyter 
> *To:* lilypond-user@gnu.org
> *Sent:* Friday, February 21, 2014 1:55 PM
> *Subject:* piece title
>
> Hi all,
>
> in my project here, I use lot's of small parts of music, and they're
> numbered using "piece" in each header of each score.
>
> The "piece" title seems by default to be aligned in height to the highest
> note, which causes the piece title to collide with the clef when the music
> is going into the lower regions.
>
> I can adjust it using markup, and \raise, but is there a more general way
> to fix it, for example by telling lilypond somehow to align the piece title
> to the clef instead of to the notes?
>
> thanks in advance,
>
> Bart Deruyter
>
>  http://www.bartart3d.be/
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>
> --
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Re: piece title

[bart deruyter]

here is the file :

thx to look into it,

Bart

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2014-02-21 15:35 GMT+01:00 Phil Holmes :

>  Version? Code to produce these?
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* bart deruyter 
> *To:* Phil Holmes 
> *Cc:* lilypond-user@gnu.org
> *Sent:* Friday, February 21, 2014 2:11 PM
> *Subject:* Re: piece title
>
> Hi,
>
> In the image you see the first score has a piece title which has not been
> adjusted, the second one is. The reason why the piece title is colliding,
> is because it is aligned to the music, not to the clef.
>
> grtz,
> Bart
>
> http://www.bartart3d.be/
> On facebook <https://www.facebook.com/pages/BartArt3D/169488999795102>
> On Twitter <https://twitter.com/#%21/Bart_Issimo>
> On Identi.ca <http://identi.ca/bartart3d>
> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>
>
> 2014-02-21 15:05 GMT+01:00 Phil Holmes :
>
>>  Could you provide an example illustrating the problem?
>>
>> --
>> Phil Holmes
>>
>>
>>
>>  - Original Message -
>> *From:* bart deruyter 
>> *To:* lilypond-user@gnu.org
>> *Sent:* Friday, February 21, 2014 1:55 PM
>> *Subject:* piece title
>>
>> Hi all,
>>
>> in my project here, I use lot's of small parts of music, and they're
>> numbered using "piece" in each header of each score.
>>
>> The "piece" title seems by default to be aligned in height to the highest
>> note, which causes the piece title to collide with the clef when the music
>> is going into the lower regions.
>>
>> I can adjust it using markup, and \raise, but is there a more general way
>> to fix it, for example by telling lilypond somehow to align the piece title
>> to the clef instead of to the notes?
>>
>> thanks in advance,
>>
>> Bart Deruyter
>>
>>  http://www.bartart3d.be/
>> On facebook <https://www.facebook.com/pages/BartArt3D/169488999795102>
>> On Twitter <https://twitter.com/#%21/Bart_Issimo>
>> On Identi.ca <http://identi.ca/bartart3d>
>> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>>
>> --
>>
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>>
>>
>
\version "2.18.0"
\include "../../library/guitarstuff.ly"
\include "../../library/shorthand.ly"


global = {
  \key c \major
  \time 4/4
  \override StringNumber.staff-padding = #'()
  \override Staff.Arpeggio #'direction = #LEFT
  \override Fingering #'add-stem-support = ##t
  \override StringNumber #'add-stem-support = ##t
  \override StrokeFinger #'add-stem-support = ##t
  \override StrokeFinger #'avoid-slur = #'outside
}

%No.11
upperK = \relative c' {
  \global
  \LHleft
  \repeat volta 2 {
\tuplet 3/2 {g8-\RHi c-\RHm e-\RHa} \tuplet 3/2 {g,8 c e} \tuplet 3/2 {g,8 c e}\tuplet 3/2 {g,8 c e} |
\tuplet 3/2 {g,8-\RHi d'-\RHm f-\RHa} \tuplet 3/2 {g,8 d' f} \tuplet 3/2 {g,8 d' f} \tuplet 3/2 {g,8 d' f}
  }
  \newSpacingSection
  \override Score.SpacingSpanner.spacing-increment = #0.1
  < c e>1
}

lowerK = \relative c {
  \global
  \LHleft
  \repeat volta 2 { c4_\RHp e c e | b d g, b }
  \once \override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/1)
  1 \bar "|."
}

%No.12
upperL = \relative c' {
  \global
  \LHleft
  \repeat volta 2 {
\tuplet 3/2 {e8-\RHa c-\RHm g-\RHi } \tuplet 3/2 {e'8 c g } \tuplet 3/2 {e8 g c } \tuplet 3/2 {e8 c g }
\tuplet 3/2 {f'8-\RHa  d-\RHm g,-\RHi} \tuplet 3/2 {f'8  d g, } \tuplet 3/2 {f'8  d g, } \tuplet 3/2 {f' d g, }
  }
  \newSpacingSection
  \override Score.SpacingSpanner.spacing-increment = #0.1
  1
}

lowerL = \relative c {
  \global
  \LHleft
  \repeat volta 2 {c4_\RHp e c e | b d g, b }
  1 \bar "|."
}

%No.13
upperM = \relative c' {
  \global
  \LHleft
  \repeat volta 2 {
\tuplet 3/2 {g8-\RHi c-\RHm e-\RHa } \tuplet 3/2 {e8-\RHa c-\RHm g-\RHi}  \tuplet 3/2 {g8 c e} \tuplet 3/2 {e8 c g}
\tuplet 3/2 {g8-\RHi d'-\RHm f-\RHa} \tuplet 3/2 {f8-\RHa  d g,} \tuplet 3/2 {g8  d' f} \tuplet 3/2 {f8  d g,}
  }
  \newSpacingSection
  \override Score.SpacingSpanner.spacing-increment = #0.1
  1
}

lowerM = \relat

Re: piece title

[bart deruyter]

ok,

first:
it is not about "not being bothered" it is about "knowing how and what".
So here it is:
I minimized it to what I think is quite minimal.
I think you can see the difference of location between the piece title
above the clef, it is adjusted to the position of the note, which is good
for longer titles. There's no collision with the clef yet, but it is coming
quite close.

My question then was/is, is there a way to change the alignment of the
piece title to the clef instead of the note, so I won't have to adjust the
position of it with markup in each score. In that respect, the comments
about my previous upload do illustrate the problem: quite some code to
shift through to fix it.

grtz,
Bart


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2014-02-21 22:25 GMT+01:00 David Nalesnik :

> Hi,
>
>
> On Fri, Feb 21, 2014 at 2:35 PM, Phil Holmes  wrote:
>
>>  I'm not going to look at it.  To be honest, if you can't be bothered to
>> cut this down to a manageable size, and provide a compilable example, I
>> can't see anyone else bothering either:
>>
>> etude11-20.ly:2:10: error: cannot find file: `../../library/
>> guitarstuff.ly'
>>
>
> Yes.  The idea is to create a simple code snippet which shows the problem
> with as little extraneous detail possible.  Then it's usually short work to
> try it out, fix it, and reply.  (Personally, I don't feel comfortable
> answering questions without having tried something out first, and I'd have
> to make my own working example to answer your question.)
>
> http://www.lilypond.org/tiny-examples.html
>
> HTH,
> David
>
>
\version "2.18.0"

global = {
  \key c \major
  \time 4/4
}
\paper {
 indent = 2\mm 
}

lowerS = \relative c {
  \global
c8
}

lowerT = \relative c {
  \global  
c''8
}

%A
\score {
  \new Staff \with {

  } { \clef "treble_8" << \lowerS >> }
  \layout {
  }
  
  \header {
piece="N°.19."
  }
}
%B
\score {
  \new Staff \with {
  } { \clef "treble_8" << \lowerT >> }
  \layout {
  }
  \header {
piece="N°.20."
  }
}
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Re: piece title

[bart deruyter]

hi all,

thanks for the suggestions.

Repeats are not an option, in the small example I only showed one note, to
illustrate the piece title issue, the rest of the music differs in the full
score as you can see in my far from minimal example.
There you can see the context.

The piece title is exactly the kind of title I need from the perspective of
content, because there are 10 pieces of music on each page.

The other options give some possibilities but still not satisfactory. The
piece titles still move up and down on different scores too much.  I'm
going for the \raise and \lower option in each individual score anyway, it
gives me exact control over the position.

grtz,

Bart

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2014-02-22 23:37 GMT+01:00 Thomas Morley :

> 2014-02-22 17:36 GMT+01:00 Ed Gordijn :
> > Hi Harm, Bart,
> >
> >
> > The "piece" title seems by default to be aligned in height to the highest
> > note, which causes the piece title to collide with the clef when the
> music
> > is going into the lower regions.
> >
> >
> > So you need a bit more spacing between your title and the first system.
> >
> > I think using "piece=..." is not the appropiate thing for your usecase.
> >
> >
> > Why not? I would say that you could increase the markup-system-spacing.
>
> Well, depends what behaviour is wanted ...
>
> >
> > \version "2.18.0"
> >
> >
> > \paper {
> >
> > indent = 0
> >
> > scoreTitleMarkup = \markup { \bold \large \scoreTitleMarkup }
> >
> > markup-system-spacing = #'((basic-distance . 10)(minimum-distance .
> > 10)(padding . 1)(stretchability . 60))
> >
> > }
> >
> >
> > \score {
> >
> > \new Staff { c'1 }
> >
> > \header { piece = "N°.20. with basic-distance" }
> >
> > }
> >
> >
> > \score {
> >
> > \new Staff { \tempo "Allegro" c1}
> >
> > \header { piece = "N°.21. but make room when necessary" }
> >
> > }
> >
> >
> >
> > Greetings, Ed
>
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glissando in fingering notation

[bart deruyter]

Hi all,

got another thing here for which I don't find the place in the manual, two
places to look for it I think, didn't find it, glissando can be found in
expressive marks of course, but this implementation might be found in
fingering instructions too, but I didn't find it, or I missed it somewhere.

In attachment the image of what I want to achieve, it is used quite often
in pieces for guitar, at least, I've seen it quite often.

How can I achieve it with lilypond?

grtz,

Bart
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Re: glissando in fingering notation

[bart deruyter]

Hey, thank you very much, I'll look into it, indeed exactly what I need :-)
seems like I really still need to learn a lot of lilypond and mainly scheme
I guess.

I've already started a github repository for a collection of folk-tunes (
https://github.com/bartart3d/folk ), it is still very small, but maybe it
would be a good idea to collect instrument specific snippets in a
repository as well.
I collect them personally in a 'guitarstuff.ly' file, but if it would be
organised well and shared, such library could be used by everyone. I'm
willing to share my guitarstuff of course, nothing new in there I guess,
but for the guitarists among us it would be an include away :-).

Just a thought, maybe an idea for future development, like we do for
assigning the right instrument to midi:

\instrument = "guitar"

at the start of the score, causing it to load all instrument specific
overrides additional engravers and settings, shorthand notation etc. in one
go.

grtz,

Bart

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2014-02-26 10:50 GMT+01:00 Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com>:

> 2014-02-26 9:57 GMT+01:00 bart deruyter :
>
>> Hi all,
>>
>
> Hi Bart,
>
>
>> How can I achieve it with lilypond?
>>
>>
> See  http://comments.gmane.org/gmane.comp.gnu.lilypond.general/67470
> Herewith is a possible solution.
>
> Cheers,
> Pierre
>
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